Bingo, Pleasance Theatre

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by guest critic Amy Toledano

Bingo hits you right where it hurts in this one-man comedy show at The Pleasance Theatre. With its mile-a-minute comedy stylings and all-too-relatable references to the difficulties of being an artist in London, Bingo with have you gasp-laughing the entire time.

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Cafe Society Swing, Theatre Royal Stratford East

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by an anonymous guest critic

An evening of spectacular performances depict the true story of New York’s first jazz club, Cafe Society, run by immigrants and allowed black and white audiences to integrate. The club’s audiences watched the most talented performers of their time, including Billie Holiday, who gave her first performance of harrowingly beautiful lynching song ‘Strange Fruit’ there.

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How to Survive a Post-Truth Apocalypse, Battersea Arts Centre

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by guest critic Amy Toledano

Francesca Beard delves into the complex subject of truth and looks at how it could be perceived in a post-apocalyptic world. Using spoken word (which Beard is clearly a pro at) as well as song and multimedia imagery, the audience takes a journey with their Shaman and guide Francesca who hopes to lead them to the real meaning of truth.

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Suicide Notes… The spoken word of Christopher Brett Bailey, Shoreditch Town Hall

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by guest critic Joanna Trainor

“I wanted to be gentle when I blew his mind.”

Christopher Brett Bailey could read the Argos catalogue and have an audience hang on his every word. But his talent for storytelling is matched by his weird and wonderful writing, and so we get to take another trip down the rabbit hole of his inspired or insane work.

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Devil With the Blue Dress, Bunker Theatre

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by guest critic Amy Toledano

The political climate of 1990’s America may be something the world has largely forgotten, but playwright Kevin Armento certainly has no issue in reminding us of one of the country’s most memorable sex scandals. In his audacious new play Devil With The Blue Dress, Armento examines five women’s accounts leading up to – and resulting in – President Clinton’s impeachment in 1998. From the moment you set foot in the Bunker, you cannot help but be transported into what feels like the smoky underworld of dirty politics. This sensation can only be helped by saxophonist, and lone instrumentalist of the show, Tashomi Balfour, who underscores the entire piece with his smooth and often haunting melodies.

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Beowulf, Battersea Arts Centre

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by Laura Kressly

Stories always have monsters. They may not be literal monsters, but anything that’s scary, or an obstacle, or destabilising, or otherwise threatens the story’s hero.

Stories also always have choices. Usually a lot of them, made by the hero, that determine his or her fate.

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Ok Bye, VAULT Festival

by guest critic Lara Alier

Imagination and simplicity are very effective storytelling devices. Ok Bye feels like a small step forward in the evolution of theatre. Ok, I’m getting carried away, but when I see people pushing theatre forward I get excited. There are verbatim sections, choreography, lighting devices, live music, three actors and one musician.

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