movement

Good Grief, Edinburgh Festival Fringe

by Laura Kressly

When one of their friends died, theatre company Ugly Bucket navigated their grief the only way they knew how – by making a show. Using clowning and physical comedy, an ensemble of five flit between a dying man and his family, an afterlife of jagged pink gravestones where they playact a life cycle, various ways people die and depictions of people dealing with death. It’s both funny and immensely sad, as well as a sophisticated reflection on how we process loss and our own mortality.

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This is Not a Show About Hong Kong, Edinburgh Festival Fringe

by Laura Kressly

At the start of this piece that is definitely not about Hong Kong, we are asked not to take photographs. This is because the performers, who are absolutely not from Hong Kong, could face persecutions under China’s National Security Bill if they were caught making a show about Hong Kong. But this is all hypothetical, because this physical theatre show is not about Hong Kong.

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Eating Myself, King’s Head Theatre

by Diana Miranda

Unfussy and rich – that’s what Eating Myself is, in a good way. Although, one of the key takeaways from this one-woman show is that no rich Peruvian dish goes without a fuss. Eating Myself is an endearing monologue by Pepa Duarte about food that navigates the intersections between body stereotypes, family, traditions and cuisine.

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For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy, Royal Court

by Romy Foster

Frank Ocean fills the air, and audience members tap their feet and nod their heads in time. I jokingly ask my mum if she recognises the song as I recall how I wailed and begged about 10 years ago for her to download his album onto her iPod. Indulging in Frank Ocean’s music is like a Black right of passage. I don’t know anyone who doesn’t adore his range, and if you don’t – you’re lying.

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…cake, Theatre Peckham

By Diana Miranda

Theatre Peckham’s Artistic Director Suzann McLean hits the target as she notes that …cake is a bold new play which honours intersectionality. Written by babirye bukilwa and directed by malakaï sargeant, this two-hander drama pulls away from the myth of neatly defined tropes regarding gender identities, roots, class and relationships, and sets out to explore the complexities of stepping out of a familial cocoon that shifts from warm to flaming.

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Feature | Henry VI Part One: open rehearsal project

Cast revealed for RSC's Henry VI Part One: Open Rehearsal Project | WhatsOnStage

By Diana Miranda

The Royal Shakespeare Company flung open their locked playhouse doors with a new project that engaged audiences in a socially distanced but immersive manner: they put the making process of a play online for anyone to watch. From 1- 13 June, audiences (or rather Vimeo viewers) could join the cast and creatives of Henry VI Part One every weekday for live streams of the company’s morning physical and voice warm-ups, lunchtime rehearsals, and evening green rooms that answered audience questions and allowed the team to expand on their crafts, normally kept behind the scenes. All the live streams were available to watch until 25 June. If uncovering a rehearsal process doesn’t sound unconventional enough, the show did not hit the stage boards. Instead, the final performance consisted of a live-streamed, rehearsal room run-through from the RSC’s Ashcroft Room on 23 June.

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The Sun, The Moon and The Stars, Theatre Royal Stratford East

The Sun, The Moon and The Stars: Kibong Tanji gives an unmissable performance

by Laura Kressly

Women’s anger is often expected to be suppressed or contained rather than be unleashed on the world. Otherwise, we risk being labelled ‘crazy’ or ‘a bitch’, no matter what injustice we experience. But Femi can’t hold it in anymore. The night before the group of white men who killed her killed her brother Seun on Margate’s beach face charges of manslaughter, his ghost visits her to share the truth of his death. Initially baffled by her dead brother’s appearance, she is transformed into an embodied fury that cannot and will not stop until she gets revenge.

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The Language of Kindness, Shoreditch Town Hall

Times Local Newspapers & Magazines | “Nurses have become the focus of our daily lives and we want to celebrate them”

by Laura Kressly

Everyday life isn’t often a particularly generative setting for compelling storytelling, but the many hospital dramas out there show that medicine is an exception. Though they aren’t part of most people’s daily routines, they are for the nurses who work in them. Long, exhausting shifts are dictated by the rhythms of their rounds, but these are punctuated by literal life-or-death crises. Amidst the moments of high drama, there are series of small, precise actions that keep patients safe and looked after. It’s in these little moments that this physical theatre collage excels.

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Freedom Hi, VAULT Festival

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by Amber Pathak

Making a show political without feeling like a rant is a tough nut to crack; too much seriousness and you’re the news, not enough and you look misguided. The company Papergang Theatre make it look easy. They’ve incorporated just about every performance medium: dance poetry, lecture, video. This is proof that less is not always more.

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Resonate, VAULT Festival

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By Zahid Fayaz

This is the first preview performance of a one-man show following Jacob, a young man trying to turn over a new leaf away from his previous life as a hard-living and loving party animal. He’s doing this through Jesus and focusing on his education. He is, however, finding this difficult due to constant interruptions from his friends and ex-girlfriends whilst he is trying to finish an assignment.

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