by Laura Kressly
Leigh’s doing her GCSEs but all she and the girls at school can talk about is the upcoming May Day event, where Leigh’s playing the May queen. She can’t wait to wear the dress she was allowed to choose herself, and wave from the float whilst the entire city of Coventry comes out to watch. What she doesn’t realise is that at 16 years old, Leigh’s had enough of boys and men consuming her body.
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by Grace Bouchard
(CW: rape)
If you ever went to a house party when you were 16, you should probably go and see Superman by Rose Eye Productions.
by Laura Kressly
CW: sexual abuse, rape, suicide
Jeanine is in her early 30s and seems to have herself together, but her friends know better. Though she can hold down a job, a relationship and hobbies, she can’t manage to get a handle on cleanliness and hygiene. Not that this really comes across in this production, though. Jay Miller’s low-key, casual realism and a clean design contradict the filth that Jeanine is supposed to embody.
by Laura Kressly
When Sas and Monty were kids, the world was full of possibility and adventure. Now that they’re grown, poverty, loneliness and their pasts have trapped them in Belfast, barely able to leave their flats. Infantilised by unemployment, they stay in and play pretend like they did as children. Whether its as bin men, Cuban revolutionaries or global travellers, The Game lets them ignore the harsh reality of the social and economic systems keeping them down. In Alice Malseed’s play, the past, present and imagined flow into each other like the lads’ days do, but Sas thinks its time they grow up.
by Laura Kressly
CW: rape and sexual assault
Making a bouquet of flowers is more than just bunging some random blooms in a vase. It takes care, thoughtfulness, skill and time to craft something beautiful and unique. People need that same sort of care and nurturing too, especially children and teenagers. This high stakes, solo performance shows the pressures that young women encounter daily, and how much they need support to grow and flourish in a world that is out to exploit them.
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.
By an anonymous guest critic
As the audience enters the small studio space, we see a young man scribbling animatedly on a legal pad. Whether he’s mentally troubled or just in an intense creative state, we’re not sure. The mystery of this young man named Trevor (played by the play’s author Scott Howland) unravels over the course of the next hour in this new production directed by Harriet Taylor.
by Laura Kressly
Leah loves life. She works in a Saville Row shop and shares a flat with her best mate. It gets even better when she meets Ben Cavendish, a new customer at work, and things starts turning into a real-life fairytale. But real life isn’t a fairytale – awful things happen and endings aren’t always happily ever after.
by Laura Kressly
Whether you like or not, time and technological developments are marching on, impacting every aspect of our lives – including sex and relationships. Nessah Muthy’s new play proposes that soon the technology behind life-like robot Sophia will combine with hyper-realistic sex dolls already incorporating AI. In the world of the play, most people choose to buy themselves a made-to-order companion that satisfies all of their needs.
Rape culture is real. Victims are blamed, perpetrators are excused and conviction rates are low. Of reported rapes – estimated to be less than 20% – only 3% are deemed to be false accusations.
The Play's The Thing UK 