Statues, Bush Theatre

by Zahid Fayyaz

At the west London’s prestigious new writing venue comes the world premiere of Azan Ahmed’s latest play, a two-hander in the theatre’s intimate studio space. Running for a tight 70 minutes, the story is about teacher Yusuf, played by Ahmed himself. He is going through his recently deceased’s father’s things, and finds some old tapes which reveal that he used to be a rapper. Listening to the tapes, he begins to understand more about his father, whilst also going through the process of grieving a man who was a ‘statue’ in front of the TV for most of his life.

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LIFE: the beginning, the end, and everything in between, Lion and Unicorn Theatre

by Diana Miranda

Forrest Gump’s mama said it best: “Life is like a box of chocolates. You never know what you’re going to get.” Featuring ten short pieces that delve into the tapestry of human experiences, LIFE: The Beginning, the End, and Everything in Between reflects precisely that variety. Produced by Northern Spirit, this eclectic evening of new writing at The Lion and Unicorn Theatre has the creative energy of a poetry slam and a scratch night put together.

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The Unicorn in Captivity, Lion and Unicorn Theatre

by Diana Miranda

Written by Angelika May, The Unicorn in Captivity is a powerful tragedy that explores the ways patriarchal systems —from the NHS to art institutions — diminish and fetishise the experience of women grappling with chronic illness. 

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Cassie Workman: Aberdeen, Soho Theatre

by Zahid Fayyaz

Fresh from a successful run at the Edinburgh Fringe, Cassie Workman brings her lyrical 55-minute poem to the intimate upstairs space at the Soho Theatre. A spoken-word performance of uncommon intensity, it tells the fictional and fantastical story of the narrator traveling back in time to try to save Kurt Cobain from committing suicide. It touches on additional, more universal themes and issues however, so it isn’t just for the Kurt Cobain fans to enjoy.

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Handel’s Messiah: The Live Experience, Drury Lane Theatre

by Euan Vincent

When Handel wrote the Messiah in 1741, he faced fierce competition within the dwindling operagoing-market to get more bums on seats. Opera was seen as obtuse, elitist and too expensive (oh, how times have changed). Faced with this reticence, Handel wrote Messiah as an oratorio, which is similar to opera but isn’t typically staged, is written in English and focuses heavily on Christian themes – all of which were designed to broaden the appeal of his piece to the widest audience possible.

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For All the Love You Lost, Edinburgh Festival Fringe

Fundraiser by Morosophy Productions : Morosophy Productions goes to  Edinburgh Fringe!

by Diana Miranda

Written and directed by Joshua Thomas, For All the Love You Lost is a sincerely moving piece coloured by passages of spoken word poetry and physical theatre. Despite focusing on contemporary dating, it succeeds in portraying the emotional value in connections beyond romantic love.

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Freedom Hi, VAULT Festival

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by Amber Pathak

Making a show political without feeling like a rant is a tough nut to crack; too much seriousness and you’re the news, not enough and you look misguided. The company Papergang Theatre make it look easy. They’ve incorporated just about every performance medium: dance poetry, lecture, video. This is proof that less is not always more.

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VOiD, VAULT Festival

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by Isabel Becker

Slick, smart and penetrating: Sophia Capasso’s play provides an incredibly strong performance of psychological terror that leaves hearts racing to the rhythm of her words. The story of young Ali’s cyclical descent into trauma – with the end of the play neatly bringing us back to its opening sequence – is told with not just fervent passion, but striking dramatic professionalism.

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