by guest critic Maeve Campbell
Two months in, and already ‘gaslighting’ appears to be the word of the year. Both Trump and Weinstein, who are often cast as toxically masculine villains in the press, have been accused of implementing such misdirection and manipulation toward their female accusers.
by guest critic Ava Davies
all good artists are dead return with their second show as a collective: JOY is a wide-ranging and stretchy exploration of diaspora and sex. Dina Gordon performs as Joy, a woman who contains multitudes.
by an anonymous guest critic
Lucie’s play The Moor uncovers the nightmarish reality of Bronagh (Jill Mcausland), a new Mother stuck in a state of abysmal claustrophobia from the landscape which she is in constant fear of and an abusive relationship with her partner Graeme (Oliver Britten).
by Laura Kressly
‘See it. Say it. Sorted.’
Every Londoner knows this slogan from the British Transport Police encouraging us to be vigilant as we go about our days. Be alert, and if you see something suspicious, report it.
by guest critic Hailey Bachrach
Ignace Cornelissen’s Henry the Fifth, which was at the Unicorn Theatre in 2015, remains one of my favourite versions of that play ever. Setting King Henry’s French wars in a sandbox, Cornelissen simplified without dumbing-down the central themes of Shakespeare’s play.
by Laura Kressly
A newborn lamb lies on the ground. It’s dead. It’s mother will soon follow, but there are others that are still alive or yet to be born, and they need help. Bec and Anna fight for the survival of these tiny creatures as if their lives depend on it.
by guest critic Joanna Trainor
A cabaret, but also Tinder, and a break up, sending nudes, watching porn for the first time and embracing or fearing female sexuality. The Internet was Made for Adults squashes a few too many storylines into one 70-minute show, some of which have almost nothing to do with the internet at all. Individually they would all make interesting and important subjects for a play, but crammed together it’s too disjointed to really
enjoy.
by an anonymous guest critic
Witty, laugh-out-loud, Irish brilliance: Erica Murray’s London debut of The Cat’s Mother demonstrates how a female-centric production can truly be a hit.
by guest critic Ava Davies
Boys, the inaugural piece by physical theatre group The PappyShow, is about exactly that. It’s an exploration of manhood, of masculinity, of what it means to be a man of colour in the UK today. It’s about mess and silliness and play and pain. It’s about the complexity of selfhood – because how can one man possibly contain all these multitudes?
by guest critic Lara Alier
Uber, happy hour, Tinder, late night cheesy chips are all part of the vocabulary of a Londoner’s life. So are two complete strangers waking up next to each other. Usually one of them will remember, and even find a blurred picture of you both at 4 am surrounded by empty glasses. Yet neither has any memories of the night before.
The Play's The Thing UK 