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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Dead Dog in a Suitcase, Lyric Hammersmith

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by Laura Kressly

John Gay wrote The Beggar’s Opera in 1728 to reflect a London ridden with corrupt and dangerous politicians, inequality and violence. Not much has changed in those nearly 200 years, then. Kneehigh updates the story to a rundown coastal town where all the citizens resort to cold-hearted ruthlessness in the name of survival, resulting in an extravaganza of murder, betrayal and spectacle.

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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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Operation Mincemeat, New Diorama

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By Laura Kressly

Musical theatre excels at turning an otherwise serious subject into an extravaganza of high camp. Though it’s easy to dismiss such approaches as light and frivolous, SpitLip – a new company formed by members from Kill the Beast and Felix Hagen & the Family – tell the true story of a British intelligence operation with plenty of panache and satirical social commentary (and heaps of high camp) in this smashing new show.

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White Pearl, Royal Court

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by Laura Kressly

Sometimes writing reviews is easy. Thoughts are fully-formed, and words that convey them easily flow onto the page. Sometimes, it’s the opposite. Writing about complex plays full of culturally sensitive material requires a lot of care and awareness, both of the critic’s position in the world, and their relationship with the content of the play. It’s a reflective, delicate process that isn’t and shouldn’t be easy for those in positions if privilege.

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