Blind Date, Edinburgh Festival Fringe

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by Meredith Jones Russell

A sexy French clown goes on a blind date with a willing gentleman from the audience. And it is wonderful.

As you are ushered in to the theatre to witness this potentially most alarming of spectacles, French waiters politely hand out small typed compliments from silver platters. ‘You are beautiful,’ reads one. This gives the immediate reassurance needed before this kind of show. This is not about humiliation or nastiness. Far from it, Blind Date is full of warmth, heart and even love.

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Lobster, Edinburgh Festival Fringe

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by Laura Kressly

Modern dating for straight women is a horror show of dick pics, ghosting, casual sex, stealthing, quashed hopes and heartbreak. Yet Polly keeps at it, convinced she’ll eventually find her lobster – a baffling and tasty creature that will commit to her for life. Fragile and fresh out of a relationship with a guy she thought was the one, she enthusiastically dips her toe back into dating in this cheerful account of her hunt for The One.

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Mating in Captivity, King’s Head

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by Laura Kressly

Annie and Rob fall through their door, drunk and giggling. It’s their wedding night and they’ve got plans, but it turns out they’re not alone. When Annie discovers a naked man in their bed who turns out to be Rob’s ex-boyfriend, a hilariously weird chain of events kicks off with unpredictable results.

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Crystal Clear, Old Red Lion

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by Laura Kressly

Richard is an art dealer living a Bohemian life in the early 1980s – his London bedsit is cluttered with quirky finds from Portobello Market, he fills his time with music, wine and women. When years of not taking care of himself eventually take their toll on his body, writer Phil Young wants us to feel sorry for Richard but his misogynistic and abusive behaviour in this 1982 play makes this difficult to achieve.

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The Light in the Piazza, Southbank Centre

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by Amy Toledano

Based on the book of the same name by Elizabeth Spencer and published more than 60 years ago, The Light in the Piazza is a surprisingly progressive tale for its time. Finding acclaim with the 1962 film adaptation starring George Hamilton and Olivia Havilland, this story made a lasting impression on the likes of Richard Rogers, who was one of many composers looking to adapt it for the stage. Unfortunately, it was not until 1998, when Rogers’ grandson approached Spencer about giving the adaptation another go. From this, the version we see on stage was born, to great success.

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Garry, White Bear Theatre

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by Laura Kressly

In the programme notes, director Graham Watts states, “there are hundreds of astonishing plays written by women that have never seen the light of day…Let me be clear. These are not ‘lost works’. They’ve never been considered and were simply ignored.” This world premiere by the writer of Machinal proves his point. Though several of Sophie Treadwell’s 39 plays were produced on Broadway, this one from 1954 – one of her last, and demonstrative of her skill and experience – has never before been produced.

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