Jane Doe and The Shape of the Pain, Edinburgh Festival Fringe

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Though the fringe is still often gloriously lo-tech, more shows and venues are embracing and exploring the role technology can play in live performance. New Zealand-based Zanetti Productions’ Jane Doe and China Plate’s The Shape of the Pain are powerful, challenging productions that use tech in different ways from each other, but it is essential to both and enhances the productions’ impact.

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Secret Life of Humans, Edinburgh Festival Fringe

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Ava is fascinated by human beings. Not just generally, but in the academic, evolutionary sense. She’s also going through a tough time and needs a break, so she’s on the pull. Jamie’s also after a distraction and the two matched on Tinder, so now, after millions of years of evolution, these two people are having dinner.

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Disconnect, Ugly Duck

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Imagine a production of Waiting for Godot with more characters, set in space, where the audience chooses the outcome of the story. What you are picturing is probably gloriously weird and kitschy. But now add clumsy dialogue, some poor performances and a loosely applied Brexit analogy, performed on a set that looks like it’s built of cardboard and/or they ran out of paint. If your mind’s eye makes a different picture now, it be more accurate.

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The Principle of Uncertainty, Draper Hall

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According to one of the theories of quantum mechanics we’re taught in The Principle of Uncertainty, we can be in multiple places at once. If only that were true. I could review way more shows than I can currently, go on holiday, live in multiple countries and hold down several jobs, all at once. It would be wonderfully productive. Dr Laura Bailey (Abi McLoughlin), the lecturer who explains the theory to us, has a simpler wish – to be able to see her daughter again.

We are Dr Bailey’s freshman class in Draper Hall, a housing estate community space in Elephant & Castle newly doubling as a performance venue run by veteran Italian polymath Stefania Bochicchio. The non-traditional space doesn’t have a lighting rig or backstage, so shows like this that defy theatrical conventions are a natural fit.

Closely resembling a lecture, this production takes time to get to its point but when it does, it breaks hearts. McLoughlin excels as the warm, enthusiastic Laura and utterly convinces as a scientist. Her gentle breakdown is a moving climax to a script as it begins to lose focus, with the attention shifting from equations and concepts to her own, personal story.

Dr Andrea Brunello’s script is science heavy, though it doesn’t matter if it’s understood or not. It takes awhile for the story to emerge from the lesson; though it doesn’t work if it’s earlier, this happens well after the question of what the performance’s point is arises. McLoughlin is fully engaging throughout even if it’s difficult to care about the content of the lecture.

The piece suits the space well, and takes a relaxed and accessible tone – a great choice for a south London council estate venue seeking to bring new audiences to theatre. An excellent performance in this a show that doesn’t feel like a show charms, educates, and provokes reflection on the important things in life.

The Principle of Uncertainty runs through 1 April 2017.

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The Bad Seed, Brockley Jack Studio Theatre

L-R Rebecca Rayne as Rhoda, Jessica Hawksley as Monica and Beth Eyre as Christine © David Monteith-Hodge

Rhoda is the picture-perfect 1950s American child. Obedient, clever and helpful, she is a dream for any parent. But after the death of a classmate who won the penmanship medal Rhoda coveted, mum Christine’s investigations into past “accident” uncover a dark secret from her own childhood that means Rhoda isn’t all that seems. The revelation ends in tragedy with serious implications for Rhoda’s future.

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Made in India, Soho Theatre

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@hannahnicklin: Since reading this I keep on thinking in quiet moments ‘women are raped nightly so I can have tomatoes in winter’

We know we exploit foreign workers for cheap goods, because we’re liberal and aware. But does that stop us? Largely, no – because we can’t afford to. I buy my clothes from Primark and my fruit and veg from the stalls that line Peckham Rye because I work in the arts and I’m poor. I don’t give any thought to where they come from in the transactional moment, but am righteously moved by articles like the one above that Hannah Nicklin tweeted. Sure, this makes me a hypocrite. But I need only to look at the other people also shopping on Sunday mornings to reinforce that I am far from alone. Most of my fellow “liberal elites” (educated, urban and left leaning) are the same, and centuries of imperialism (obviously white, male and western-led) have established the systems that the whole of society (including the liberal factions) implicitly condones through consumerism.

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Space Play, VAULT Festival

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by guest critic Michael Davis

In recent years, tales of space travel have been making more of an appearence in theatre. While the Royal Court showcased Alistair McDowall’s X last year, the Fringe scene has had mature, high-quality productions of its own – including Emily Holyoake’s Stasis and Curious Directive’s Pioneer. Space Play, which has been running at the VAULT Festival, looks at the aftermath of orbital collision with space debris, inspired by the events of the film Gravity.

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