Garry, White Bear Theatre

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by Laura Kressly

In the programme notes, director Graham Watts states, “there are hundreds of astonishing plays written by women that have never seen the light of day…Let me be clear. These are not ‘lost works’. They’ve never been considered and were simply ignored.” This world premiere by the writer of Machinal proves his point. Though several of Sophie Treadwell’s 39 plays were produced on Broadway, this one from 1954 – one of her last, and demonstrative of her skill and experience – has never before been produced.

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The Glass Menagerie, Arcola Theatre

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By Laura Kressly

In 1930s St Louis, Missouri, housing laws ensured black people and white people lived in separate neighbourhoods. Racial inequality was rife and the city as a whole, like the rest of the US, was suffering the effects of the Great Depression. The Wingfield family are no different – living in a tenement apartment, Amanda and her grown children, Tom and Laura, struggle to make ends meet. Stress, worry and resentment drives wedges between them, creating a tension stoked by Tennessee William’s exquisite language. In this production directed by Femi Elufowoju Jr, the Wingfields are black, so their dreams and aspirations are all the more devastatingly unreachable when contexualised by the segregation of the day.

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Justice, Blue Elephant Theatre

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by Laura Kressly

Michael and his best mate Charlie are typical teenage boys – they just want to hang out and play Fifa and party. Michael’s patient girlfriend Liv is often at their side, his mum is there to fret and nag, and his half-brother Josh reliably winds him up. They’re 17 and life is good – until it isn’t.

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Harper Regan, Tabard Theatre

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by Amy Toledano

Last performed at the National Theatre, Simon Stephen’s Harper Regan is great at making an audience uncomfortable. His drawn-out scenes build tension to the point that it is totally unbearable, and Contentment Productions bring their own sense of intensity to this writing that for the most part works, but can sometimes feel slightly tired and draining for the audience.

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Does My Bomb Look Big in This?, Soho Theatre

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by Laura Kressly

Aisha and Morgan have to go to school one day in August, like almost every other 16-year-old in the country, to collect their GCSE results. Their school is different from the rest of the country’s though – news teams are at the gates of Mitcham High reporting on the recent disappearance of Yasmin Sheikh, dubbed ‘terror baby’ by the Home Secretary. Frustrated with her best friend’s depiction in the media and the way she has been treated by the police after Yasmin left for Syria, Aisha is determined to tell the story of the girl behind the headlines and enlists Morgan’s help.

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Die! Die! Die! Old People Die!, Battersea Arts Centre

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by Laura Kressly

Time. Generally, I never seem to have enough of it. Occasionally – rarely – I have too much to wade through before reaching something I’m eagerly anticipating – a holiday, the weekend, time with a friend I haven’t seen in awhile, or a desperately needed lie-in. Yet for Norman and Vivian, the elderly couple in Ridiculusmus’ new show about ageing, time is a languid, sluggish force. Every weighty moment is stretched to its limits, threatens to stall, and is marked by discomfort, weakness and struggle.

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