Drip, Bush Theatre

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by Amy Toledano

In anyone fifteen years old, emotions are running high. Everything feels bigger and more extreme than it actually is, so it’s easy to be swallowed up by all the feelings. Add on top of that being queer in the North of the UK, and the teen years are bound to be an absolute rollercoaster. Drip is a lovely reminder of what it feels like to be young, and how important friendship is.

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Burke and Hare, Jermyn Street Theatre

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by Laura Kressly

A story of two men who murder people in order to sell their corpses to doctors in 1820s Edinburgh shouldn’t work as a dark character comedy with music. But largely work it does and this three-hander, though somewhat structurally clumsy, is a good alternative to more typical Christmas theatre.

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Plaid Tidings, Bridge House Theatre

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by Laura Kressly

A wholesome guy group from the 1950s with dreams of superstardom died in a bus crash before they could make it big. But for some inexplicable reasoning, a little-discussed deity gives them one more shot at fame. Plopped in front of an expectant audience seeking Christmas cheer, the Plaids muddle through their posthumous encore. Though the story is utterly baffling, the four performers have heaps of holiday charm.

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Rendezvous in Bratislava, Battersea Arts Centre

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by Nastazja Somers

Born in 1913 in Koscice, Slovakia, Ján Ladislav Kalina was a man of theatre and art. He
lived the bohemian life that young people in Eastern Europe romanticise when they get lost in the works of Milan Kundera. Jan is Miriam’s grandfather, and in many ways his story, is that of my grandfather too. Miriam is a theatre-maker. Rendezvous in Bratislava is her ode to what’s lost and what’s remembered.

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Hadestown, National Theatre

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By Laura Kressly

How can we radically reinvent myths and classic literature? I mean, really radically – not in a box ticking way, or a modernisation the production wears like a piece of costume that doesn’t really change the thematic core of the story. I mean thoroughly, totally, completely. So all traces of horrible ‘isms’ and ‘ists’ are either reframed or criticised. 

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Baby, Drayton Arms Theatre

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by Amy Toledano

Baby by MKEC Productions follows a year in the life of three couples as they experience the world of childbirth, from their struggles with conception, to difficulties in their relationships and within themselves as individuals. This talented cast does their best with this dated book and ideas, and attempts to bring the 1983 Broadway hit into the 21st century.

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Beauty and the Beast, King’s Head Theatre

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by Amy Toledano

Fat Rascal Theatre Company has created magic in their gender-swapped, musical parody of Beauty and the Beast. This show offers an interesting look at the ideologies behind most classic fairy tales and quite literally turns it on its head with a sharp book, catchy score and brilliant performances.

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