An Adventure, Bush Theatre

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by Laura Kressly

Jyoti crouches on the floor rearranging five photographs, frowning with much consternation. A man emerges from the storm outside, awkward and in an ill-fitting suit. Jyoti must decide if this is the man whose promises of an adventure in the one who will change her life forever, or if it is to be another. But chose she must, for it’s 1954 in India and her father needs the extra income that will come from marrying off his daughter.

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Mengele and Gulliver Returns, Edinburgh Festival Fringe

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by Laura Kressly

Misogyny is everywhere, even in stories that aren’t about misogyny. A mysterious woman saves a drowning man who treats her like scum, and a beleaguered wife tolerates a torrent of abuse in the name of genius, but these scenarios lie within stories with more dominant narratives. 

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On the Exhale, Edinburgh Festival Fringe

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By Laura Kressly

There are guns everywhere in America. Real ones, and pictures of them, hidden and overtly displayed. This constant threat of violence gives the unnamed uni lecturer and mum in this monologue nightmares and anxiety attacks. She awaits the day when a male student takes issue with his grades, or the course content, or anything else that threatens his masculinity and barges into her office or classroom and guns her down.

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Outside & Fallout, Edinburgh Festival Fringe

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by Laura Kressly

With the world as it is, it’s fair to feel like the apocalypse is coming and there’s nothing us powerless citizens can do about it. In that context, making a show about how we’re all doomed seems a rather reasonable response. Doom and gloom shows are a dime a dozen at the fringe, and these two address a particular brand of disaster with varying results.

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Emilia, Shakespeare’s Globe

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by guest critic Nastazja Somers

Anger is what I am not allowed to feel.

Most days I wake up, think about the prospect of hiding my anger and dealing with whatever life throws at me, then consider hiding under my duvet. The theatre industry keeps throwing so much shit at women that sometimes the only way we can keep going is by unleashing our rage. Except anger is an emotion often denied to women. So we suppress and suppress and suppress. It’s a vicious circle and it keeps happening. EVERY. SINGLE. DAY. My hope of ever witnessing a true revolution for women in theatre began to disappear over the last year – until this show.

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Sparks & Cry God for Harry, England and St George!, Edinburgh Festival Fringe

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by Laura Kressly

Using the word ‘strong’ to describe women and girls is redundant. Putting up with all the trash that women have to deal with as a result of their gender, on top of everything else life throws at them, makes them strong by default. If they are queer, women of colour, disabled, working class, or fall in any other category that others them, this makes them even tougher because life is all the harder.

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The Abode, Edinburgh Festival Fringe

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By Laura Kressly

Imagine the world without the technological advances of the last few decades. No mobile phones, no internet, no ipods. Just Walkmans and two-way radios and clunky TV sets – but the political landscape is still the same. Where will all the incels gather without reddit?

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