by Romy Foster
A young black boy has just been stabbed in the hallway downstairs. The neighbours are sad but ultimately, not surprised. This one-woman show follows the lives of these working-class people in this typical London block.
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by Zahid Fayyaz
This is certainly a different one: a whirlwind, 75 minute-long tour through Gilbert and Sullivan’s most popular operas, with three actors and a pianist in tow to run through all the songs they can fit into that limited time period. Charles Court Opera, a talented and experienced company, do a great job with the songs, with the solo numbers being a particularly wonderful part of the show.
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by Laura Kressly
A master doll-maker has died, leaving behind a fractious and fragmented family. His widow is a nostalgic former actor, his eldest daughter Christine is a lesbian true-crime podcaster from his first marriage, middle daughter Zara is a petty criminal living in the US, and his youngest, Meg, is a children’s book author. As they gather for the funeral, Christine reminds them of their long-missing Aunt Lily, mum’s twin. Now that their tyrannical father is dead, it’s the perfect time to get to the bottom of her disappearance.
by Laura Kressly
A new Caryl Churchill play is a special occasion, but four at once is a treat. Radically different in tone and theme, this collection ranges from pleasantly surreal to shocking and strange. Though they stand alone as short plays, as a whole they take on an array of society’s ills – but the pronounced concepts that Churchill is known for occasionally stale here, despite regular moments of brilliance.
by Laura Kressly
John Gay wrote The Beggar’s Opera in 1728 to reflect a London ridden with corrupt and dangerous politicians, inequality and violence. Not much has changed in those nearly 200 years, then. Kneehigh updates the story to a rundown coastal town where all the citizens resort to cold-hearted ruthlessness in the name of survival, resulting in an extravaganza of murder, betrayal and spectacle.
by Maeve Campbell
Angel Cruz has shot a man in the ass. He says he didn’t kill the religious cult leader, who
had apparently brainwashed his best friend Joey, but this man is now dead. This is where
we start Jesus Hopped the ‘A’ Train. What follows is a compelling exploration of guilt,
goodness and godliness as Angel, incarcerated in New York’s infamous Rikers Island,
confronts his emphatic public defender, a sadistic prison guard and a charismatic, born-
again Christian serial killer.
By Meredith Jones Russell
It was Andrew Green, in the Garden, with a Plant. No need for spoiler alerts, though. This was just the ending on the night I saw Murder She Didn’t Write, an improvised whodunnit comedy.
by Meredith Jones Russell
Three women – Beth, Deirdre and Marie-Sue – set out to murder their husbands. but things quickly spin out of control when one murder goes right, one goes wrong and one goes very, very wrong.
The Play's The Thing UK 