by Romy Foster
The Dark is an exhilarating and personal journey through the dusty backroads of Uganda in 1979. Jumping between then and present day, Michael Balogun tenderly tells author Nick Makoha’s story of how he and his mother escaped the terror of Ugandan dictator Idi Amin’s reign and crossed the border heading for the UK when he was four years old.
by guest critic Amy Toledano
Francesca Beard delves into the complex subject of truth and looks at how it could be perceived in a post-apocalyptic world. Using spoken word (which Beard is clearly a pro at) as well as song and multimedia imagery, the audience takes a journey with their Shaman and guide Francesca who hopes to lead them to the real meaning of truth.
by guest critic Amy Toledano
A stage dressed with cardboard cut outs of Donald Trump, three members of One Direction and a children’s play house are just some of the elements that make up this monologue of a recovering children’s entertainer. Joseph Cullen, or put more plainly Joe, who enters the space in a complete Princess Leia outfit, introduces himself to us as exactly this, and then continues to surprise us from that moment on.
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.
After 52% of 72% of the British voting population voted to leave the EU, Rufus Norris’s concern that London theatre was out of touch with the majority of British people drove him to launch a nationwide project of listening. He sent a team of ‘gatherers’ to all corners of these sceptered isles, and they collected 70 interviews from people up and down the country. The transcriptions combined with text by Carol Ann Duffy gave birth to My Country; a work in progress.
You can be who you want to be, right? Rob, a driving instructor in modern day Romford, believes himself to be an 8th century Chinese poet from the Tang Dynasty. When he finally chooses to live the sequestered life of a poet out on the marshes in a wooden hut, it has huge repercussions on his family and friends. The whole thing’s silly – sure, you can choose a career, or where you live, but contrary to what Rachel Dolezal and desperate sci-fi fans may think, we cannot chose our race or the century we live in.
Luke Wright’s jovial demeanour and impressive word hoard sit at odds with his smudged eyeliner and black leather jacket. The unassuming performance poet skulks to the mic, breathes, then unleashes a torrent of verbal acrobatics snapshotting British everymen and women. From a Georgian dine and dasher, to a bloke from Essex who swears he saw a lion roaming a campground, Wright’s depictions bring these characters to life. His dexterity and character-driven performance has a theatricality missing from most performance poetry, but the polished story present in What I Learned From Johnny Bevan is notably absent in The Toll.
