This stand-up comedy double-act features Jamie Lerner and Mariah Girouard, two Americans living in Barcelona. The act starts with Mariah, who tells us about her disastrous dating experiences, her crack-ridden town in the US, and how cats and women have more in common that we may think. Her delivery is confident, balancing dark jokes with silly remarks in natural way.
RAH is a play written and performed by Laila Latifa. Set in the bedroom of Manal, a half-Moroccan, half-British woman in her early twenties, the play bravely depicts a history of belonging. Structured as a monologue, the script explores Manal’s internal ramblings, exposing the truth about her family, her feelings of inadequacy at university, and her difficulties navigating her sex life within the context of an overtly religious family.
A blend of Orwell’s 1984 and the American Horror Story TV series, The Messiah Complex is a dystopian thriller that explores the extremes of conflicting belief systems. It takes place in a society where religion is banned and treated as a mental illness, and those who oppose scientific dogma are prosecuted without scruples. Sethian, a prophet who grapples with inner conflict, is held captive in a complex where a scientist – someone really between a nurse and a political propagandist – attempts to correct his behaviour. If Sethian fails to cooperate, the complex’s ‘administrators’ threaten to erase his memory of Sophia, his partner and fellow leader in a revolutionary movement.
Die Hexenhammer is a treatise on witchcraft written and published in 1486 by Catholic clergymen Heinrich Kramer and Jacob Sprenger. The key argument of the book is the following: Chaos is female and women corrupt men, therefore women must be destroyed. Using this historical event as the backbone of the play, Suzy Kohane (as Heinrich) and Sidsel Rostrup (as Jacob, Heinrich’s faithful companion) mix comedy and verbatim theatre (taken from incel forums) to create a hilarious, yet extremely poignant play that explores the roots of misogyny.
This is an absolute blast of a show. The fourth show from Police Cops, who have previously been on tour and in London and the Edinburgh Fringe previously. It is clear that the three-man group have a great handle on the jokes and physical aspect of their performances.
Little can get in the way of teenagers’ hormones. In Kash and Mohsen’s case, the fact they can’t swim isn’t going to stop them going to the biggest event of the year, Jess Denver’s pool party. They’ll simply learn how so they don’t embarrass themselves in front of their entire year group. After all, Kash needs to flaunt his gains in front of the girls, and Mohsen will provide reluctant moral support. With a whole month to go, surely they can figure it out. Swimming’s not that hard, right?
This new play is a real treat. Written by and starring Waleed Akhtar, it is a duologue looking at the burgeoning love story between two Pakistani men. Played by Akhtar, Bilal is a young gay Muslim man who has responded to schoolyard bullying by hitting the gym and trawling Grindr for casual hook ups. There are hints of him of him wanting more, but he pushes it down every time disappointment hits.
This is a brand new play, co-commissioned by the Bush Theatre and Clean Break Theatre Company. Clean Break was formed in 1979, and focuses on given women, who have experienced the justice and prison systems, opportunities to work and tell their stories through theatre and performance. This particular story focuses on the release of Aleena from prison, and how this release impacts her daughter Leila, who was been living with Noor, her grandmother during Aleena’s imprisonment. There is a clash of philosophies between the traditional Noor and the freer-spirited and highly strung Aleena, with family secrets threatening to come to a head.
Though a master of testing the theatrical limits of space and time, the first half of Alistair McDowall’s latest play unfolds like a straightforward Gothic thriller. In a largely recognisable style and form, an unnamed young woman is rescued from a Victorian asylum by a medium needing a new assistant, but her unanticipated power has frightening consequences for the household. Though an interesting enough consideration of spiritualism and class, the second half of the show is far more expansive and unpredictable. Like McDowall’s previous plays X and Pomona, dramaturgical conventions are so distended that the world in Act I seems alien. The real world we live in does, too.
This is the first preview performance of a one-man show following Jacob, a young man trying to turn over a new leaf away from his previous life as a hard-living and loving party animal. He’s doing this through Jesus and focusing on his education. He is, however, finding this difficult due to constant interruptions from his friends and ex-girlfriends whilst he is trying to finish an assignment.