by Grace Bouchard
Perhaps one of the most shocking things about Border Control by Michelle Sewell is the fact that it was written five years ago, before Brexit and at the very beginning of the European Migrant Crisis.
political theatre
Freedom Hi, VAULT Festival
by Amber Pathak
Making a show political without feeling like a rant is a tough nut to crack; too much seriousness and you’re the news, not enough and you look misguided. The company Papergang Theatre make it look easy. They’ve incorporated just about every performance medium: dance poetry, lecture, video. This is proof that less is not always more.
Closed Lands, VAULT Festival
By Joanna Trainor
Concertina wire. I’m not sure it’s possible to get LegalAliens’ constant repetition of the definition of concertina wire out of mind. This sweet voice calmly talking about the tiny blades used to cut through material and skin over and over again is haunting. Continue reading
V + 15, VAULT Festival
by Lizzie Jackson
The particularly dark and damp Cavern is a perfect location for V+15 what with its references to the trains passing overhead, as well as the mysterious, dystopian theme that runs throughout the play. Jo Sutherland’s writing is philosophical, political and fast-paced with twists and turns at every corner, and the direction from Sara Reimers is naturalistic and engaging, but a bit lacking in its ability to bring out the characters’ emotions. Whether this is down to the actors, the direction, or the script, it is hard to tell. It could be a combination of all three.
Life and Death of a Journalist, VAULT Festival
by Meredith Jones Russell
Life and Death of a Journalist follows Laura, an English reporter who returns home from Hong Kong to be offered the job of a lifetime on a China-backed newspaper. However, as the paper goes to further lengths to appease its censor-happy investors, Laura gets more conflicted about her journalistic ethics.
Dual, VAULT Festival
by Laura Kressly
Peyvand Sadeghian was born in Canning Town, and East London runs through her veins. Yet, there’s also the scent of something else, from somewhere far away – rose water and pomegranate, from an ancient civilisation the western world loves to demonise. She doesn’t give this much thought until she is 10 years old and first travels to Iran with her father. This is a turning point in her life; it’s when she finds she is not just one person, but two. As well as Peyvand the Londoner, she’s also Parisa the Persian girl. These two identities are set in opposition in this deliberately messy collage about having multiple citizenships and identities, and embedded with a spirit of revolution.
Smoke Weed Eat Pussy Everyday, Camden People’s Theatre
by Laura Kressly
Chloe Florence lives her life by a couple of key principles: smoke weed and eat pussy everyday. Along with drugs, Tinder dates and all-night raves, these keep her busy. They are also powerful and necessary distractions from homelessness, which she has been since she was 17. She shares anecdotes about her experiences partying, sex and staying safe in this rough and ready, music-infused, autobiographical monologue about her lived experience as a queer homeless woman. Though the piece takes some time to gain momentum, the latter half is an unstoppable, unapologetic roar.
