new writing

Quiz, Noel Coward Theatre

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by guest critic Gregory Forrest

On 10 September 2001 – the last day of a different time – Army Major Charles Ingram  won the jackpot of ITV’s ‘Who Wants To Be A Millionaire?’ In the days that followed, the Twin Towers fell and producers of the quiz show made their case against the Major, his wife, and a coughing contestant who supposedly cheated their way to the million pound cheque. As one character observes, take a step back and the whole story sounds too silly to be true. Which is precisely why West-End regular playwright James Graham picks it up.

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Reared, Theatre503

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by guest critic Joanna Trainor

“You look like a fucking idiot.” There was so much love in this insult, that with all the crap this family have to deal with you knew they’d muddle through it together.

For a play just short of 100 minutes, Reared addresses a lot of hefty issues in quite quick succession. Dementia, post-natal depression, losing your virginity, money problems, coming out – the first few scenes are a bit of a whirlwind. But overall writer John Fitzpatrick gives most of them the time they deserve so the story doesn’t feel gimmicky.

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Devil With the Blue Dress, Bunker Theatre

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by guest critic Amy Toledano

The political climate of 1990’s America may be something the world has largely forgotten, but playwright Kevin Armento certainly has no issue in reminding us of one of the country’s most memorable sex scandals. In his audacious new play Devil With The Blue Dress, Armento examines five women’s accounts leading up to – and resulting in – President Clinton’s impeachment in 1998. From the moment you set foot in the Bunker, you cannot help but be transported into what feels like the smoky underworld of dirty politics. This sensation can only be helped by saxophonist, and lone instrumentalist of the show, Tashomi Balfour, who underscores the entire piece with his smooth and often haunting melodies.

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Plastic, Old Red Lion Theatre

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by guest critic Joanna Trainor

“Think Columbine, think Virgina Tech, think Sandy Hook.”

Teenage Ben repeats this again and again in order to calm his nerves when he’s being mercilessly mocked by the football team. Less than two months after the Parkland shootings these words don’t sit right. In Ben’s mouth they sound blasé, and they’re not.

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Albatross, Gate Theatre

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by Laura Kressly

There aren’t many writers who conjure stories the way Isley Lynn can. Her innate instinct for achingly human characters in situations rarely – if ever – seen on stage sets her well apart from most young playwrights. Her oeuvre includes Skin a Cat, a hilarious and necessary story of a young woman navigating dating and sex whilst unable to be vaginally penetrated, and Tether, the journey of a blind woman and her guide training for a marathon. These intimate stories leave a huge impact when set on stage, their echoes long reverberating with her audiences.

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Yokes Night, Theatre Royal Stratford East

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by Laura Kressly

Yokes (n.): Irish slang for ecstasy pills

In March 2015, a governmental gaff meant that for one night only, all drugs were legal. The good people of Ireland duly took advantage of this accidental loophole, leading to a night of glorious mess and the inevitable disappointment that comes from overinflated expectations. Two people, Saoirse and Harry, fall out with their friends and connect with each other during the glorious chaos in this sweet yet predictable story.

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Beginners, Unicorn Theatre

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by Laura Kressly

Kids are intuitive. They’re smart, observant and know a lot more about the world than adults think they do. Tim Crouch’s play where adults and children play each other and kids eventually run the show also proves that they aren’t that different from each other anyway. Whimsical design, innovative dramaturgical devices and an unwilling to patronise young people with obvious storytelling combine to create a marvellous and thoughtful piece of theatre for all ages.

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Will, Rose Playhouse

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by Laura Kressly

Fan fiction has probably been around for as long as celebrity culture has existed, with the internet playing a pivotal role in its dissemination. But sharing her love of Shakespeare online isn’t enough for playwright Victoria Baumgartner, who brings her unbridled devotion to Shakespeare to the stage. This speculative, queer narrative presents Shakespeare’s ‘lost years’, between 1585 and 1592, with an earnest devotion that appeals to Shakespeare fans but lacks finesse and depth.

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Lock and Key, VAULT Festival

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by guest critic Lara Alier

Smaller scale musicals are on the rise at the moment. They’re performed in smaller venues that, as well as being kinder on production costs, also offer an intimacy between performers and the audience that we really value.  Lock and Key’s cast is also small, with only two performers on stage, and a live quartet including a cello, violin, piano, and a cajón.

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