By Diana Miranda
It’s been 436 days since the King’s Head Theatre closed its doors due to the pandemic, but who’s counting.
The theatre makes a comeback with the debut of No Strings Attached by Charles Entsie, an absorbing, site-specific production about the encounter between two strangers late at night, on the third floor of an underground car park, hiding from other people’s gaze.
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by Michaela Clement-Hayes
What would you do if you were offered something that could change the world? Would you take it? Of course you would. But what if you found out that it wasn’t from a reputable source? What then?
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by Laura Kressly
Jacob Zuma, the retired president of South Africa, is in hospital for some tests. On checking into his room he discovers his nemesis, former Minister of Intelligence Ronnie Kasrils, in the room opposite. The two men have a long and complex history that unfolds over the course of Gail Louw’s play as a dialogue-driven wrestling match. Though their relationship has plenty of material to fuel discussions and augments about revolution, women, race and South Africa’s history, the plot meanders through topics rather than telling a cohesive story. Strong performances make this an engaging production minute-by-minute, but the overall result is not satisfying.
by Laura Kressly
Penelope Skinner’s 2010 play feels like it’s bursting at the seams with damaged – and damaging – people, but there’s only four of them. Cassie works for a feminist charity and can barely contain her rage against the patriarchy. Her flatmate Rose believes in fairies, numerology and fate but is less concerned with holding down a job and paying rent. Mark owns a flat in Chiswick, works in marketing and is capable of extraordinarily disgusting misogyny and casual homophobia. Then there’s his flatmate Tim, a uni mate who wants to be a carer and is grieving the recent death of his grandmother. The combination of these four personalities could easily lend itself to sitcom-type comedy, but instead they create a perfect storm of dramatic chaos after Rose and Mark start sleeping together.
by Amy Toledano
Do you ever think about where your cash goes once it has been handed over to the cashier? How many hands does a five pound note pass through before it gets to you? And what should you do if you see a fiver on the ground? Do you pick it up and keep it for yourself or see if the owner is nearby? These are the questions that Alex James Ellison and Tom Lees, the creators of new musical Fiver explore in their show.
By Laura Kressly
In 1930s St Louis, Missouri, housing laws ensured black people and white people lived in separate neighbourhoods. Racial inequality was rife and the city as a whole, like the rest of the US, was suffering the effects of the Great Depression. The Wingfield family are no different – living in a tenement apartment, Amanda and her grown children, Tom and Laura, struggle to make ends meet. Stress, worry and resentment drives wedges between them, creating a tension stoked by Tennessee William’s exquisite language. In this production directed by Femi Elufowoju Jr, the Wingfields are black, so their dreams and aspirations are all the more devastatingly unreachable when contexualised by the segregation of the day.
by Laura Kressly
CW: suicide and self-harm
Mossy is only 22 but he’s tired of life. He can’t shake the feeling that there’s nothing more than this, so the best option is to call it a day and kill himself. His only concern is that his mum won’t be able to afford his funeral, so he convinces his reluctant mates to launch a fundraising campaign before he goes. Touching on toxic masculinity, male friendship, euthanasia and voyeuristic media consumption, this new script has some clumsy writing but the themes that propel the action forward to a surprising end smartly support the story of friendship.
by Laura Kressly
I contemplate a ratty t-shirt displayed on a podium alongside several other seemingly random items. I’m asked to write down how much I would pay for it. Determining it’s not something I’d wear or have any other use for, I wrote £0 on a slip of paper that I slid into a box behind it.
by Laura Kressly
Our company is restructuring and every one of us has to reapply for our jobs. Tensions are running high, but don’t worry! Our caring employers have asked one of the HR team to lead us in a Mindfulness workshop to help us cope. The thing is that this workshop leader’s life is falling apart as well, and the skeletons are tumbling out of her closet quicker than she can put them back in.
Paul (Chris Polick) is a London property developer. He’s a smooth talker and wears impeccably cut, expensive looking suits. He goes to exclusive chillouts where he takes pills and fucks men he doesn’t know. He’s waiting for the clinic to phone.
Wendy’s (Sarah Malin) an art therapist for a few different charities. She’s a liberal activist, and works with homeless people when budgets allow. She and her boyfriend Dave have just split up so moved out and has no where to go. With luggage in tow and work in the morning, she’s reached the end of the line.
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