Work Bitch, VAULT Festival

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by Joanna Trainor

Life is what happens to you while you’re busy making other plans.

Jessica Siân opens Work Bitch with an utterly manic laugh. The awful kind of laugh you develop when you have to laugh or you’ll cry. This is a proper tragicomedy at its core. The intelligent writing makes you laugh at these larger than life characters, all played by Siân, and then hits you with the added details – like the expression of the cook, who works every shift he can, when he thinks no one’s watching.

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Angry Alan, Soho Theatre

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by Laura Kressly

Roger’s an average guy down on his luck, living with his girlfriend after being made redundant and wishing he could see his son more. Still bitter about his divorce and losing his job, he passes time wondering aimlessly around the internet. When he emerges from a youtube rabbit hole that led him to the user Angry Alan, Roger feels like he’s woken from a long sleep. The Men’s Rights Movement has gained another disciple.

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Can I Touch Your Hair, Vault Festival

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by Romy Foster

Making my way into the theatre, I am so excited to see this show. The speakers on the incoming are blaring superwoman smash hits like Destiny’s Child’s ‘Say My Name’ and Jamelia’s ‘Superstar’ and I am pumped to see a full hour of female empowering, bossy woman, hell-raising quality content. Being International Women’s Day, I feel like this is the perfect show to see.

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How Eva Von Schnippisch Won WWII, Vault Festival

How Eva Von Schnippisch Won WWII

by an anonymous guest critic

The Vaults is the ideal venue for what is essentially a one-woman, Weimar era Cabaret show.

Stephanie Ware plays Eva Von Schnippisch, a hard-drinking, fun-loving cabaret performer in wartime Berlin. We learn about Eva’s rise to become one of Berlin’s top night club performers, which leads to the British secret service recruiting her to do undercover work gathering intelligence in the fight against Germany.

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It’s Not a Sprint, Vault Festival

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by Christina Bulford

Ever felt like you were stumbling through life rather than running it? Living in London can feel like a sprint sometimes, barging up and down escalators and chasing pay cheques whilst trying to hold family and friends, a career and a love life together in your sweaty palms. As if that wasn’t enough, you meet stumbling blocks along the way, like: what day do I need to put the bins out? How many weeks is it acceptable not to wash my sheets? Will I ever be grown-up enough to be in bed by ten, or to do a weekly shop?

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Superhoe, Royal Court

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by Romy Foster

Nicôle Lecky’s play is an 85-minute, one-woman emotional tornado. She rip-roars across the stage as Sasha Clayton, a typical hell-raising London girl who is 24 and feels like she’s going nowhere with her life. (Hello, did someone say relatable?) Sasha is an aspiring musician who finds herself at a loss and becomes homeless when her ‘perfect’ family kick her out and move to Kent. It’s at this point that she beings to slip into the seemingly enticing world of sex work and the luxuries that come with it.

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