Legally Blonde, New Wimbledon Theatre

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by guest critic Amy Toledano

The story of Elle Woods is one that many people are familiar with, and from the way the New Wimbledon Theatre was buzzing with excitement for it’s press night, it remains clear how many hold Legally Blonde close to their hearts. We have seen numerous productions of this show since it opened on Broadway in 2007, many of which have tried their best to be differentiate from the original. This version is no different.

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The End of History, St Giles in the Field

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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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San Domino, Tristan Bates Theatre

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by guest critic Gregory Forrest

I really wanted to love this.

A new musical about gay men under Mussolini (politically, if not physically) sounds so exciting. Silvio Berlusconi’s claim that ‘Mussolini never killed people, just sent them to holiday camps’ brushes off the dark reality of imprisonment, violence, and unrecorded deaths. Yet by clearing out the closet, government officials gave gay men in particular the freedom to live openly and form tentative relationships in their Mediterranean exile. It was a queerly liberating sea breeze.

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Cafe Society Swing, Theatre Royal Stratford East

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by an anonymous guest critic

An evening of spectacular performances depict the true story of New York’s first jazz club, Cafe Society, run by immigrants and allowed black and white audiences to integrate. The club’s audiences watched the most talented performers of their time, including Billie Holiday, who gave her first performance of harrowingly beautiful lynching song ‘Strange Fruit’ there.

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Three Sisters, Yard Theatre

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By Laura Kressly

British theatre’s slavish reverence for classic texts stifles innovation, resulting in safe, similar productions of the same collection of canonical works. This attitude needs to be challenged, and RashDash’s Three Sisters proves they’re the company to do it. Their female-centred, millennial take on Chekhov’s story of three women trapped in the Russian countryside pining for their old lives in Moscow is a gloriously irreverent and refreshing interpretation.

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How to Survive a Post-Truth Apocalypse, Battersea Arts Centre

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by guest critic Amy Toledano

Francesca Beard delves into the complex subject of truth and looks at how it could be perceived in a post-apocalyptic world. Using spoken word (which Beard is clearly a pro at) as well as song and multimedia imagery, the audience takes a journey with their Shaman and guide Francesca who hopes to lead them to the real meaning of truth.

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