Pah-La, Royal Court

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by Marc Hayes

Meaning ‘father’, the word Pah-La is also inflected with a term of respect; ‘La’ is a sign of formality, and becomes more like ‘Dear Father’ in a crude translation. It is a richly ironic title then. Pah-La takes aim at the social and emotional structures of patriarchal revenge, and explores a radically non-violent alternative.

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The Show in Which Hopefully Nothing Happens, Unicorn Theatre

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By Laura Kressly

For a show in which hopefully nothing happens, there are plenty of weird and wonderful things that unfold, of course. Because a children’s show – or one for adults for that matter – would be incredibly dull indeed if nothing happened, but that’s absolutely not a worry here. 

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Bon Voyage Bob, Sadler’s Wells

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by Laura Kressly

I’m going to go out on a limb and state than any performance lasting three and a half hours should be good. At a minimum – if it has a name like Pina Bausch’s attached it should be much better than good. It should be complex, groundbreaking and innovative.

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The Dog/The Cat, Hope Theatre

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by Laura Kressly

Dividing up shared belongings after a breakup is awful, but custody battles are even worse – even if they are over a pet. With emotions running high, fallouts are inevitable when it comes to who gets to keep Fluffy or Fido. These two, one-act plays explore relationship dynamics through a filter of pet ownership, though both struggle to translate big ideas into coherent storytelling.

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Tabarnak & Casting Off, Edinburgh Festival Fringe

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By Laura Kressly

Circus is a a marvellous showcase of physical skill and the possibilities of the human body, but with this often comes a sexualised view of women and men dominating the form with their strength. Tabarnak certainly focuses on the latter, with the women serving more as support to the acts. Fortunately there’s feminist circus in the form of Casting Off that challenges women’s role in society and the circus.

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