The Crucible, Yard Theatre

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by Meredith Jones Russell

Chairs set out with the name of each character written on the back suggest at first glance that the Yard’s staging of Arthur Miller’s The Crucible will be stripped-back and basic. As the cast enters, reciting the full text including stage directions in their own clothes and accents, it feels like a reading. Only the stackable, institutional chairs themselves hint at what is to come; this could be a committee meeting at a small town village hall where members of a tight-knit community meet to air their concerns and dole out justice. 

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The Justice Syndicate, Battersea Arts Centre

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by Lara Alier

Walking upstairs to the performance space, I was wondering why are there only 12 of us and why hadn’t I investigated a bit more what am I about to watch. Or, as it turns out, what I am about to do. Around one, big table, there are twelve tablets and name tags saying Juror 5, 6, and so on. I am going to be part of the jury that would decide if a Doctor was guilty or not guilty of sexual assault.

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Babylon Beyond Borders, Bush Theatre

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by Laura Kressly

In the ancient city of Babylon, people lived peacefully. They were left to their own devices until, according to a biblical story, they built a tower that reached to the heavens. Then, a vengeful god destroyed it and scattered the citizens around the world bestowing them different languages so they could no longer communicate. For language and peace are power, and power threatens those in charge.

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The Cult of K*nzo, Camden People’s Theatre

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by Maeve Campbell

Cosmopolitan’s current most-read article is a feature on a $35 maternity dress worn by Megan Markle. This is, as explored in performance artist Paula Varjack’s latest work, an example of post-recession celebrity dressing. Yet mixing a Gucci top with Topshop jeans is a distant dream to those of us who will never be able to afford to wear Gucci.

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Salaam, Vault Festival

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by Laura Kressly

Rema and her mum are at home in East London during Ramadan, preparing to break the day’s fast, when their living room window shatters. Another day, another hate crime – but this event is the catalyst for a holiday full of new friends, new understanding, new creative expression and new betrayals.

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Welcome to the UK, Bunker Theatre

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by Laura Kressly

It seems like the Bunker has been transformed into a small-scale, DIY circus, setting the mood for a playful and uplifting story. Instead, an ensemble of 16 enacts a series of grotesque and infuriating sketches depicting refugees’ and asylum seekers’ experiences navigating the UK’s racist and classist ‘Hostile Environment’.

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Feature | Top Ten Shows of 2018

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by Laura Kressly

Growing global discontent has been the hallmark of 2018, and 2019 is looking even worse. The last few years have marked a rise of the far-right, but theatremakers in opposition are letting audiences know it from the stage. Some of the best shows of this year show anger, fear, uncertainty or simply let the world know that enough is enough – it’s time for a fairer, more peaceful society that pays homage to all of its people.

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