by Diana Miranda
Recently unemployed and battling feelings of loneliness, Andrea explores casual dating for connection and distraction – mostly distraction. Tinder one-night-stands gradually evolve into exclusive sex parties. Dissecting a newfound sexual drive, Andrea probes a path that offers a soothing, exciting alternative to her seemingly crumbling life, but her boundary-pushing exploration soon reveals a story of addiction.
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by Laura Kressly
Nina, an achingly cool yet awkward young Londoner, wasn’t expecting to meet Gabriel at a BBQ in Tooting, but she does. Their burgeoning relationship seems perfect. Descriptions of dates, parties, meeting each others’ families and moving in together feel natural and healthy, until things start to deteriorate. Moments that were previously joyful become tense, and physical affection is now forceful. As much as this is a monologue about falling in love, it’s also a piece about its deterioration into abuse and finding a way out.
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by Laura Kressly
What is love? Riham Isaac wants to know, so she turns to music, old films, interviews, and religious and secular iconography to find out. She in turn shares a collection of ideas of what love is, isn’t or what it might be. The result is a highly visual, multimedia cabaret presenting an international, era-spanning collage of love and romance.
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by Zahid Fayyaz
This is a fascinating one-woman show, aptly timed for the valentines season, exploring facets of love and obsession. Following Faith, expertly played by Faith Brandon, in her quest for love, this is a highly entertaining and compelling look at one woman’s descent into obsession.
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by Diana Miranda
A beautiful exploration of love and nostalgia, Elsewhere Production’s debut show follows a group of flatmates who shared and cherished many moments together and have since had to part ways. The storytelling weaves together contemporary dance, physical storytelling and poetry. Through lyrical, movement-led sequences, a captivating ensemble of seven captures the audience, creating a tranquil yet powerful atmosphere.
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by Laura Kressly
Sara is in her mid-30s and feeling lost. Newly single after a transformational yet difficult relationship, she looks to her friends for support and inspiration about how not to live her life. They’re all mired in a cishet lifestyle filled with husbands, kids, and yoga. Sara, still desperately missing her ex, knows she doesn’t want these things but somehow has to move on and find a life that’s a perfect fit.
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by Laura Kressly
It’s 2051 and the world is, of course, in the midst of a climate catastrophe. Floods, fires, and record temperatures are ravaging the planet worse than ever. In a diving bell descending to the floor of the North Sea, three men work on an oil rig. Pressure mounts – and pressure mounts – the lower they get, and their technology and mental health begin to fail.
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By Luisa De la Concha Montes
Taking the cam-girl to a whole new level, Sad-Vents follows Eleanor Hill as she broadcasts her life journey to her Instagram followers from her messy bedroom. Surrounded by girly paraphernalia (condom wrappers, pregnancy tests, magazines, and the sweaters of her exes), Eleanor takes us on a 75-minute long monologue which explores topics such as abuse, loss, toxic relationships and sexuality through the lens of dark comedy. The title is entirely adequate; imitating the self-indulgent and voyeuristic nature of online venting, the play invites us to reflect on the consequences, trivialities and dangers of online commodification.
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by Laura Kressly
Storytelling – the simple kind where a small group of people sit in the dark and simply share wild and wonderful tales – is an inherent part of being human. In this instance, combining this instinct with improvisation, and audience interaction results in a story following a group of friends trying to find their way out of a plane crash. The audience is the group of friends, and Joe Strickland quietly narrates the set-up. Soon, Strickland introduces a chose-your-own-adventure type of moment that leads to many more. The concept is fun and the audience enthusiastically engages, but the execution raises questions about audience autonomy and the limits of improv.
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by Laura Kressly
In the wake of the #MeToo movement, the theatre industry interrogated rehearsal room dynamics and called for them to become ‘safe spaces’ where people are free from abuse. Whether or not productive change has actually occurred is up for debate, but this show proclaims that the concept of a safe rehearsal is highly subjective – what is safe for one person may not be for another. In this energetic and highly sensorial piece, actor/writer Rhys Hastings considers how growing up in an abusive home impacts all aspects of his life, including his acting work.
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The Play's The Thing UK 