No Kids, Edinburgh Festival Fringe

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by Laura Kressly

George Mann and Nir Paldi founded Theatre Ad Infinitum over a decade ago and have toured the world with their socio-political devised work since. From sci-fi dystopias to Mexican factories, their searing productions draw on physical theatre and international performance to create distinctive shows with powerful commentary.

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Circus Sampler, Somerset House

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by Rebecca JS Nice

The Circus Sampler at Somerset House, two weekends of events focusing on circus with an emphasis on introducing skills to first timers, opens with a demonstration of hula-hoop skills and an opportunity to try it out with the Majorettes. Far From the Norm perform Union Black, a hip-hop battle incorporating two Chinese poles, a tight rope and a cyr wheel, on the first weekend. A lack-lustre exhibition inside Somerset House, under researched and cheaply displayed, gives a snapshot of different circus styles and companies over time. Gandini Juggling Company bring the week of community events and performances to a close with a site responsive choreography, sophisticated in form and silly in performance.

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Sex With Robots and Other Devices, King’s Head Theatre

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by Laura Kressly

Whether you like or not, time and technological developments are marching on, impacting every aspect of our lives – including sex and relationships. Nessah Muthy’s new play proposes that soon the technology behind life-like robot Sophia will combine with hyper-realistic sex dolls already incorporating AI. In the world of the play, most people choose to buy themselves a made-to-order companion that satisfies all of their needs.

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A Gym Thing, Pleasance Theatre

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by Laura Kressly

Will is having a rough time so isn’t inclined to leave his Playstation. His worried mate Jay convinces him to join the gym with him, in the hope that it pulls him out of his funk. Unknowingly, Jay creates a monster. The gym gives Will not just new-found purpose, but triggers an addiction that totally transforms him from quiet and shy into a vain, self-absorbed and destructive force.

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One Green Bottle, Soho Theatre

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by guest critic Meredith Jones Russell

Princess the dog is pregnant, and someone needs to stay in to look after her, but father Bo, mother Boo and daughter Pickle all want to go out.

So far, so straightforward, you might think. But the chaos that follows in One Green Bottle, including but by no means limited to a chair through a TV set, a key down a toilet, Mickey Mouse, a disembowelled sheep and an awful lot of chains, might suggest otherwise.

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Eurohouse, Shoreditch Town Hall

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by guest critic Maeve Campbell

Before the actual show of Eurohouse begins, Bertrand Lesca and Nasi Voutas pitch a comfortable, connected atmosphere between them and audience of the Shoreditch Town Hall. They seem sincerely interested to know where we have all come from, they excuse the DIY nature of the show as Bert will be controlling the lights and sounds, and they make us all hold hands with each other. This feels like a safe, secure space.

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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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