The Ice Cream Boys, Jermyn Street Theatre

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by Laura Kressly

Jacob Zuma, the retired president of South Africa, is in hospital for some tests. On checking into his room he discovers his nemesis, former Minister of Intelligence Ronnie Kasrils, in the room opposite. The two men have a long and complex history that unfolds over the course of Gail Louw’s play as a dialogue-driven wrestling match. Though their relationship has plenty of material to fuel discussions and augments about revolution, women, race and South Africa’s history, the plot meanders through topics rather than telling a cohesive story. Strong performances make this an engaging production minute-by-minute, but the overall result is not satisfying.

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Amatory Asylum, The Wellington Club

by Archie Whyld

Founder and director of House of Kittens, Sophie Cohen, has created a show which promises an erotic exploration into the world of unusual sexual obsessions such as objectophilia (sexual attraction to inanimate objects) or dendrophilia (love of trees – taking tree hugging to whole new level).

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Eigengrau, Waterloo East Theatre

Katie Buchholz and Callum Sharp in Eigengrau at the Waterloo East Theatre

by Laura Kressly

Penelope Skinner’s 2010 play feels like it’s bursting at the seams with damaged – and damaging – people, but there’s only four of them. Cassie works for a feminist charity and can barely contain her rage against the patriarchy. Her flatmate Rose believes in fairies, numerology and fate but is less concerned with holding down a job and paying rent. Mark owns a flat in Chiswick, works in marketing and is capable of extraordinarily disgusting misogyny and casual homophobia. Then there’s his flatmate Tim, a uni mate who wants to be a carer and is grieving the recent death of his grandmother. The combination of these four personalities could easily lend itself to sitcom-type comedy, but instead they create a perfect storm of dramatic chaos after Rose and Mark start sleeping together.

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Blind Date, Edinburgh Festival Fringe

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by Meredith Jones Russell

A sexy French clown goes on a blind date with a willing gentleman from the audience. And it is wonderful.

As you are ushered in to the theatre to witness this potentially most alarming of spectacles, French waiters politely hand out small typed compliments from silver platters. ‘You are beautiful,’ reads one. This gives the immediate reassurance needed before this kind of show. This is not about humiliation or nastiness. Far from it, Blind Date is full of warmth, heart and even love.

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Sex Education, Edinburgh Festival Fringe

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by Meredith Jones Russell

A mixture of confessional monologues, recorded interviews, dance, music, and a hefty smattering of hardcore porn, Harry Clayton-Wright’s deliberately shocking, no-holds-barred, one-man show attempts to address how we learn about sex and how that education informs our wants, needs and desires for the rest of our lives.

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Have I Told You I’m Writing a Play About My Vagina?, Edinburgh Festival Fringe

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by Laura Kressly

Bea wants to get drunk and get laid, as often as possible and with no strings attached, but she has a problem. Whenever anything tries to enter her vagina, it hurts. A lot. It’s like her vagina closes up and throws a tantrum about the probing finger, penis or sex toy, and it’s ruining Bea’s life. In Ella Langley’s tentative but hopeful new play on living with and overcoming Vaginismus, Bea’s vagina is suitably personified and Bea must get Vag to trust her again.

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Mating in Captivity, King’s Head

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by Laura Kressly

Annie and Rob fall through their door, drunk and giggling. It’s their wedding night and they’ve got plans, but it turns out they’re not alone. When Annie discovers a naked man in their bed who turns out to be Rob’s ex-boyfriend, a hilariously weird chain of events kicks off with unpredictable results.

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