Br’er Cotton, Theatre503

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by Laura Kressly

Ruffrino is a revolutionary. With a rucksack full of equipment and signs, he’s ready to wake up the sleeping masses to the plight of black people in America.

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Stardust, VAULT Festival

by guest critic Joanna Trainor

There’s political theatre, and then there’s Stardust.

Arguably the most visually stunning piece to come to the VAULT Festival this year, Blackboard Theatre combine movement, out-of-this-world animations and the power of words to expose the dark world of the Columbian cocaine industry.

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Ian Done a Bad Thing, VAULT Festival

by guest critic Lara Alier

Forgiveness, guilt and punishment: these words are part of our nature and yet they’re still hard to talk about. The death penalty has always granted me hours of heated arguments. I’ve found our morals are malleable depending on each situation and can stretch or shrink like copper.

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The Drill, Battersea Arts Centre

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by Laura Kressly

‘See it. Say it. Sorted.’

Every Londoner knows this slogan from the British Transport Police encouraging us to be vigilant as we go about our days. Be alert, and if you see something suspicious, report it.

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Wild Life FM, Unicorn Theatre

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by guest critic Kudzanayi Chiwawa

Kim Noble, Pol Heyvaert, Jakob Ampe and the nine, young singer/songwriters they worked with describe this piece as part gig and part play, and it’s exactly that. The show unfolds as if in a radio station’s live broadcast, with a clearly confident cast carrying you through the unusual format, allowing the audience to simply enjoy it.

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Secret Life of Humans, Edinburgh Festival Fringe

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Ava is fascinated by human beings. Not just generally, but in the academic, evolutionary sense. She’s also going through a tough time and needs a break, so she’s on the pull. Jamie’s also after a distraction and the two matched on Tinder, so now, after millions of years of evolution, these two people are having dinner.

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The Kid Stays in the Picture, Royal Court

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By guest critic Willa O’Brian

The American dream is a tantalising thing. Even the grubbiest kid from New York, the son of a nobody dentist, can become a film star and producer. This is Robert Evans’ story, the man responsible for pictures like ‘The Godfather’. Complicité’s Simon McBurney adapted the show from Evans’ autobiography, which paints a picture from a better time: when movies were pictures and hard boiled men tacked “see?” on the ends of sentences wreathed in cigarette smoke. It is visually sumptuous and the cast of eight are a constantly churning ensemble that whip the story into a froth and delivery a sensory overload of American tropes and history and multi-media tricks. Given the subject matter, the desire to incorporate all of these elements makes sense.

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