Fiver, Southwark Playhouse

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by Amy Toledano

Do you ever think about where your cash goes once it has been handed over to the cashier? How many hands does a five pound note pass through before it gets to you? And what should you do if you see a fiver on the ground? Do you pick it up and keep it for yourself or see if the owner is nearby? These are the questions that Alex James Ellison and Tom Lees, the creators of new musical Fiver explore in their show.

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A Midsummer Night’s Dream, Shakespeare’s Globe

by Laura Kressly

Viewed through a contemporary lens, this can be considered one of Shakespeare’s more problematic plays. A woman prisoner forced to marry her conqueror’s leader, a man trying to force his daughter into an arranged marriage, and fairies forcing teenagers and each other to fall in love, are key aspects of the story that can’t be cut and all are framed by comedy. But at Michelle Terry’s gaff, director Sean Holmes deals with the first admirably and embraces the chaos of the latter two in this psychedelic, fever-dream of an interpretation that is colourful, pacey and full of contemporary jokes.

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The Future, Battersea Arts Centre

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by Laura Kressly

Welcome to the present, where we’re listening to a gig-theatre/TED Talk about the future. Specifically, Little Bulb have drawn on research from the finest minds in science, mathematics and philosophy to look at the potential of Artificial Intelligence (AI) and the impact it could have on us. Will it lead to utopia for the human race, or will we be driven to extinction? 

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Citysong, Soho Theatre

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by Maeve Ryan

Citysong contemplates the timeless cycle of life by following three generations of a family on one important day. Writer Dylan Coburn Gray calls this lyrical piece a ‘play for voices’ and indeed the script began its life as spoken word. It won the Verity Bargate Award, which brought it from Ireland’s national theatre, the Abbey, to London. Both inner city theatres are perfect settings for this evocation of life and family narrated by a cab driver in a rain-soaked, streetlamp-lit Dublin.

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Outrageous Fortune, Greenwich Theatre

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by Laura Kressly

It’s 2019 and we’re in purgatory. Some (many?) might say hell, considering the late capitalist nightmare and and rise of right-wing extremism, but Gertrude, former Queen of Denmark, has assured us we’ve arrived in purgatory and will shortly be assigned to our own, personal patches of dusty, red rock.

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Dead Dog in a Suitcase, Lyric Hammersmith

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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.

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