The Half Moon Shania, VAULT Festival

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By Joanna Trainor

Jill, Lola and Ketamine Kerry are on the precipice of greatness. Tonight will change their lives forever; a representative from Diamond Records is coming to see the G Stringz play at the Half Moon pub. If he likes them the band will be signed on the spot. That’s a lot of pressure for 18-year-olds, but these kick-ass women have got it covered. They will not apologise for the space they take up, and their songs are feminist anthems, surely they’ve got this in the bag.

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Superhoe, Royal Court

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by Romy Foster

Nicôle Lecky’s play is an 85-minute, one-woman emotional tornado. She rip-roars across the stage as Sasha Clayton, a typical hell-raising London girl who is 24 and feels like she’s going nowhere with her life. (Hello, did someone say relatable?) Sasha is an aspiring musician who finds herself at a loss and becomes homeless when her ‘perfect’ family kick her out and move to Kent. It’s at this point that she beings to slip into the seemingly enticing world of sex work and the luxuries that come with it.

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Hear Me Howl, Vault Festival

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by Laura Kressly

Jess’s has a comfortable life. The 29-year-old has a good job, a partner, a home (that she rents, of course – she’s not that lucky) and her mum lives nearby. She keeps busy with nights out, mate’s hen dos and watching Love Island curled up on the couch with her boyfriend Taj and a pack of Hobnobs. She’s happy.

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Fatty Fat Fat, Vault Festival

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by Laura Kressly

Katie Greenall is a poet, musical theatre teacher and fat. She’s pretty much always been fat, and the world hasn’t let her forget it. Her reflection on life as a fat person is hilarious and vulnerable, poetic and frank, and deserving of every cheer she gets.

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The Orchestra, Clapham Omnibus

4 Luna Dai plays Patricia - pic credit Jacob Malinksi.jpg

by Laura Kressly

Decked in their finest formal wear, a chamber orchestra entertains the punters in a post-war Parisian cafe. During their songs, they are a picture of beautiful unity. In between? Not so much. The absurd and darkly comic backstabbing and in-fighting builds to a crescendo that ends in tragedy, but the production is ultimately unsatisfying.

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Thriller Live, Lyric Theatre

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by Louis Train

Thriller Live, the Michael Jackson concert show on the West End, celebrated its tenth anniversary last night with a performance and a reception. The performance was great fun and the reception was tasteful, and the evening, overall, was a success. But I feel there were some lingering questions that neither the personalities on stage nor at the party can answer.

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Chasing Bono, Soho Theatre

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by Laura Kressly

Neil is a fragile music journalist who hasn’t reconciled with his lack of success as a musician when he is kidnapped by ageing gangster Danny Machin. Danny wants Neil to write a moving exposé explaining that at heart, he’s a decent sort of chap. As Neil and Danny get to know each other in a remote Irish cabin, Neil’s past mistakes are revealed, along with his childhood friendship with a lad who went on to become an internationally renowned rockstar.

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