by an anonymous guest critic
Lucie’s play The Moor uncovers the nightmarish reality of Bronagh (Jill Mcausland), a new Mother stuck in a state of abysmal claustrophobia from the landscape which she is in constant fear of and an abusive relationship with her partner Graeme (Oliver Britten).
by guest critic Amy Toledano
To say that Assmonkey: In Conversation is a show like any other at the Vaults is doing it a disservice. Original, laugh-out-loud funny, and at times touching, this show, created and performed by Sophia Del Pizzo, is something not to be missed.
by Laura Kressly
‘See it. Say it. Sorted.’
Every Londoner knows this slogan from the British Transport Police encouraging us to be vigilant as we go about our days. Be alert, and if you see something suspicious, report it.
by guest critic Joanna Trainor
Nine characters, three stories, one not-so-boring room.
Loosely linked by themes of crime and mystery, The Boring Room is made up of three unusual pieces that finish moments before a satisfying ending. A door is about to open, a decision made, a body buried and the audience are plunged into darkness.
by Laura Kressly
A newborn lamb lies on the ground. It’s dead. It’s mother will soon follow, but there are others that are still alive or yet to be born, and they need help. Bec and Anna fight for the survival of these tiny creatures as if their lives depend on it.
by an anonymous guest critic
Witty, laugh-out-loud, Irish brilliance: Erica Murray’s London debut of The Cat’s Mother demonstrates how a female-centric production can truly be a hit.
by guest critic Tom Brocklehurst
On arrival at Bethnal Green Town Hall, we are split into groups, given a key each, and then given the opening spiel. Ben, a secret love child of Michael Caine and Marilyn Monroe, was raised by the hotel staff in the 60s at the behest of its owner to save the stars from a scandal.
by guest critic Zahid Fayyaz
This is a solo monologue from Kryptonite Theatre Company, a new-ish company putting forward stories from different communities and perspectives not normally put on stage. This particularly story is that of Shez, a working class teenager who loves Starburst and is in the process of getting over her parent’s breakdown. After some harsh words from her mother about her weight, she embarks on a strict exercise and diet regime.
by Laura Kressly
I’m a big fan of Golem!’s approach to theatrical storytelling, and they’re a big fan of my review of their last production – so much so that their primary pull quote is one I wrote. It tops their programme, their press release and their festival listing. So it saddens me to say that Tomorrow Creeps pales in comparison to their I Know You of Old on which I lavish heaps of praise.
by guest critic Gregory Forrest
A serial murderer is killing [victim trope] and the police won’t listen. Now, a hero must find justice in his own way [he’s usually male], unaware that by digging up secrets he will soon become the killer’s next target. It is the worn-out plot of a thousand films. And it is the same tired story which is is given a jolt of electricity by Tumulus at Vault Festival.
The Play's The Thing UK 