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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Foul Pages, Hope Theatre

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by Laura Kressly

1603. Queen Elizabeth is dead, and James I is in power. Sir Walter Raleigh is imprisoned in the Tower for conspiring against the new king. His lover Mary pines for him in her stately home in Wiltshire, so she and her handmaid plot to secure the king’s favour by putting on a new play just for him, by Shakespeare’s company of players.

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Curtain Call, White Bear Theatre

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The backstage comedy has been around for what feels like as long as theatre itself, and it’s difficult to improve upon or innovate it. Simon Bradbury’s attempted dark comedy Curtain Call takes a different direction, instead using the genre to look at ageing, failure and unrequited love. The overwritten script needs significant cutting and dramaturgical streamlining, but it has a dynamic premise that looks at an often-ignored demographic.

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Good Girl, Old Red Lion

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by guest critic Joanna Trainor

“This is for people who burst at the seams.”

How do you cope with anxiety when you’re too young to know what it is? This initially appears to be what Good Girl is going to be about – how as children it is so instilled in us  to please others, that the pressure completely warps our sense of self and creates huge problems within our relationships.

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