Sex Education, Edinburgh Festival Fringe

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by Meredith Jones Russell

A mixture of confessional monologues, recorded interviews, dance, music, and a hefty smattering of hardcore porn, Harry Clayton-Wright’s deliberately shocking, no-holds-barred, one-man show attempts to address how we learn about sex and how that education informs our wants, needs and desires for the rest of our lives.

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Shackleton’s Carpenter, Jermyn Street Theatre

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by Laura Kressly

In 1914 Sir Earnest Shackleton set off to cross Antarctica via the South Pole, but the mission was cut short when one of the two ships froze in an ice floe that eventually crushed it. Miraculously, the men were able to seek help due to the ship’s carpenter repurposing the life boats to make them suitable for long journeys in turbulent water. That carpenter’s name was Harry McNish, and in his dying days on a New Zealand dock, he relives his memories of that voyage.

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A Rundown of the Roundabout: Six Shows in the Paines Plough Programme, Edinburgh Festival Fringe

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by Laura Kressly

The Paines Plough Roundabout is the most reliable, new writing venues at the fringe. With a collection of work that represents the width and breadth of the UK both geographically and thematically, this year’s offerings are universally strong. From a family musical to a one-man show about a stalker, and everything in between, there is a great selection of shows for audiences looking for new work in a great venue that tours around Britain.

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10 Things I Hate About Taming of the Shrew, Greenwich Theatre

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by Meredith Jones Russell

“When men insist on telling women’s stories for them, not only do they miss the point of telling a story, but they tell it wrong too.”

Armed with a glitzy jacket, a notebook and a whole lot of anger, Gillian English uses William Shakespeare’s Taming of the Shrew and it’s 1999 teen adaption 10 Things I Hate About You to explore gender roles in traditional and modern art and how they shape us as a society.

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Tiger Under My Skin, RADA Festival

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by Laura Kressly

Panic attacks can make you want to tear your skin off so the animal underneath has room to breathe. For the character Tom Kelsey embodies in this solo-performance, that feeling is a daily reality. In an attempt to live a ‘normal’ life and beat ‘the fog’, he agrees to a night out that should be a good laugh with the lads, but his poor mental health means that this is far from easy.

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Why the Child is Cooking in the Polenta, Gate Theatre

by Louis Train

Why the Child is Cooking in the Polenta is an odd show, odder even than the name promises. Edith Alibec stars as a young Romanian woman, pre-pubescent in the earliest scenes, who grows up in a traveling circus where her mother hangs from the big top by her hair. The play is based on Aglja Veteranyi’s autobiographical novel of the same name.

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Brawn, King’s Head Theatre

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by Louis Train

What makes some people obsess over fitness? That’s the question at the heart of Brawn, a new play written and performed by Christopher Wollaton under the direction of Matt Staite. At a lean 60-minute run time, Wollaton, alone on stage save a pair of dumbbells, tells the story of how his character, Ryan, came to be the impressive physical specimen he is today, and what he has had to give up to reach it. Part confessional, part social insight, part torture, Brawn is a wise, shocking look into the mind of one man who wants to get bigger.

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