by Zahid Fayyaz
Fresh from acclaimed runs in New York and Edinburgh, the new writing power-house puts on the one-person monologue from actor and writer Khawla Ibraheem. The show relates the struggles of Miriam in her everyday life in Gaza, whilst Israel is taking military action.
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by Joanna Trainor
“I am always performing.”
A tin shack has appeared on an empty patch of land in the exclusive neighbourhood of Stillwater in Cape Town. The only black couple on the cul-de-sac have been elected by the other “concerned residents” to serve an eviction notice.
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by Diana Miranda
What do you get when you put a sheep with existential angst in a black box theatre and add a spoonful of clowning? The answer is Sheepish, a goofy and delightful show that makes you laugh, reflect, and occasionally go, “Wait, what?” Written and directed by Lauren Talitha Ziebart, Sheepish is one of those theatre delights that refuse to take themselves too seriously.
by Diana Miranda
Death and The Cat, directed by Penny Gkritzapi, explores life’s ultimate and inevitable outcome – death – wrapped with absurdist humour and a surprising amount of heart. Robert Emlyn Slater’s debut play gives life (ironically) to Death. What starts as a comedy full of quirky characters slowly reveals itself as a deeper reflection on questions about what infinity means, and how the power of connection may ground our search for meaning within the immeasurable.
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By Luisa De la Concha Montes
We all spend too much time on our phones – there is no doubt about it. So, how can phone addiction be explored, in 2024, without relying on redundant tropes? Phone, a play written and directed by Sam Taylor explores our overreliance on digital media through the distant, yet loving relationship between four siblings: Helen, Issy, Harvey and Luke. They find themselves in a holiday resort in Hastings, the same one they used to frequent as children every summer.
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by Diana Miranda
Incomplete, written by Rebecca Mason and directed by Amalia Kontesi, is an introspective exploration of lost love and missed chances. The drama follows Phil and Louise, who, after decades of separation, find themselves in a fortuitous encounter at a remote train station. In 1985, Phil and Louise were young, in love, and ready to pursue a future together, united by their dreams of music and entrepreneurship—until Phil walked away with no explanation. Now, as they wait for a delayed train, they confront their past, grapple with lingering regrets, and question the potential for new beginnings.
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by Zahid Fayyaz
As part of the London Film Festival’s ‘Expanded’ section, Darkfield return to London’s Southbank for what is their most sophisticated immersive show to date, yet still within their familiar shipping container performance space. In past Darkfield works, you’d be lying down on a bed or sitting in an airplane seat, whilst the production used surround sound and sensory effects to take you into the world of the performance piece. This is generally done with noise cancelling headphones and total darkness, which is also the case here for Arcade.
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by Zahid Fayyaz
At the west London’s prestigious new writing venue comes the world premiere of Azan Ahmed’s latest play, a two-hander in the theatre’s intimate studio space. Running for a tight 70 minutes, the story is about teacher Yusuf, played by Ahmed himself. He is going through his recently deceased’s father’s things, and finds some old tapes which reveal that he used to be a rapper. Listening to the tapes, he begins to understand more about his father, whilst also going through the process of grieving a man who was a ‘statue’ in front of the TV for most of his life.
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by Zahid Fayyaz
Now a very popular Netflix sitcom, Kim Convenience reverts back to its theatrical roots for a second run in the current London theatre season. Previously at the Park Theatre, Ins Choi’s production is now on at Hammersmith’s Riverside Studios. With Choi playing the patriarch of the family, ‘Appy’, this is a family drama with both humour and pathos in equal measure.
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by Diana Miranda
The fringe theatre in the UK takes pride in being a haven for new writing, offering platforms such as R&D workshops, scratch nights and fringe festivals. While the model has its quirks and shortcomings, it remains a space for showcasing and tweaking new work. However, artists navigate a product-oriented landscape that puts pressure to deliver new work.
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