by guest critic Maeve Ryan
In her small Wiltshire village, Jaz says she’s ‘as black as it goes’. This is a beautifully made one woman show in which Natasha Marshall plays all the characters, but chiefly Jaz, a 17-year-young woman of mixed African and British parentage. Half Breed concerns self-identity and how self-acceptance can be the root to accepting others. It also concerns the deep intensity of young female friendship, for it is also a love story between Jaz and her best friend Brogan.
An actor stands on stage. They are handed a script they have never read before. A frank look at suicide, choice and learned behaviour unfolds after a menagerie of animal impressions.
An actor stands on stage. They are handed a script they have never read before. An hour of hilarious and revealing Mad Libs ensues.
An actor stands on stage. They are handed a script they have never read before. It’s a recipe that the actor must prepare whilst reflecting on the cultural importance and ritual of food.
An actor stands on stage. On the screen behind them, a script is projected they have never read before. Then there’s a live feed, a language lesson and a tender reflection on the meaning of home.
by guest critic Maeve Campbell
Shon Dale-Jones and Hoipolloi’s Me and Robin Hood has admirable intentions in aiming to raise awareness and money for charity ‘Street Child’. Dale-Jones’ one-man show is a personal narrative, part biography and part discussion on class and wealth divisions in Britain. The mythical medieval do-gooder is a central figure in the piece, an inspiration and obsession for the socially conflicted Dale-Jones.
I didn’t have any particular expectations from Joe Sellman-Leava’s new play on male violence. But I am joyfully surprised by an opening montage of rapidly-delivered Shakespeare, ranging from Othello to Taming of the Shrew. Disarmingly vicious in its delivery, this scene snaps into an audition for a play, then a house in Exeter, then the video research material for Joe’s character, and back again.
Human instinct to categorise and label everything and everyone extends to drawing boundaries and borders around bits of land, dividing the world up into distinct nations with names and cultural features. They’re arbitrary really, and Daniel Bye channels obscure, near-mythical performance artist Edward Shorter to challenge them.
Though the fringe is still often gloriously lo-tech, more shows and venues are embracing and exploring the role technology can play in live performance. New Zealand-based Zanetti Productions’ Jane Doe and China Plate’s The Shape of the Pain are powerful, challenging productions that use tech in different ways from each other, but it is essential to both and enhances the productions’ impact.
by guest critic Tom Brocklehurst
This show does what it says on the tin.
We spend an hour in the company of Turner Prize-winning artist Martin Creed, who plays some of his songs, and talks through some of the things he finds troubling about modern life. In this respect, the show is more like a performance poet set – John Hegley meets Professor Branestawn.