The Future is Mental, VAULT Festival

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by Dora Bodrogi

The Network Theatre Company has put together a brilliant night of short plays that are certainly entertaining, if slightly alarming about where the world is heading. The Future is Mental gives us an assemblage of six near-future, ‘soft-dystopian’ stories, admittedly inspired by Black Mirror, that makes us take a step back and really rethink our present lifestyles.

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Mission Creep, White Bear Theatre

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by Laura Kressly

Nuclear war has broken out and most of North America has been destroyed. The bombs are getting closer to London, and there are fewer escape options now that the borders are closed. There’s a sex commune in Wales, or the opportunity to join an alien species on another planet seeking a cis het couple to perpetuate the human race. Liam and Tess have applied for the latter.

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Queereteria TV, Above the Stag

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by Archie Whyld

In 1988, when I was a 13-year-old boy in a provincial town in Derbyshire, being in
possession of Erasure’s number-one album The Innocents was a big deal. It was cool to
know the names of the synthpop duo, Andy Bell and Vince Clarke. ‘Yeah, we’re going to see Andy and Vince in concert, yeah, Andy Bell, Vince Clarke, Andy and Vince’, we bantered in the playground as casually as possible. So to see Andy Bell as Torsten in Queereteria TV, relatively up close, in the flesh, was for me a piece of pop history, big deal again, nostalgia.

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WOW EVERYTHING IS AMAZING, Battersea Arts Centre

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by Laura Kressly

As the world feels more and more like a dystopian nightmare that could explode at any moment from greed and relentless late capitalism, it’s unsurprising that young people are worried about their future. Sounds Like Chaos are a soothing balm for them, though. The associate company at the Albany supports referred and self-referred 12-21 year olds with training, employment opportunities and opportunities to make theatre, treating them with respect and valuing their ideas. Their latest ensemble work is set in the near future, using music, projections and ritual to critique online culture.

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Passionate Machine, Draper Hall

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by Laura Kressly

In 2015, Dr Rosy Carrick was in Russia researching the life and work of Vladimir Mayakovsky as part of her PhD. On an otherwise a normal day, she receives a note from herself. It’s rather different from the usual reminders her past self leaves her future self, like ‘phone mum’ or ‘pack daughter’s PE kit’. Dated 1928, she has written to her past self – due to incorrect calculations and broken equipment, future Rosy implores present Rosy to build a time machine to rescue her.

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