Eris, Bunker Theatre

8F94E525-FC9C-4094-BBED-50D44C73AAE1

By Laura Kressly

Sean broke up with Tim because he’s just too fabulous and refuses to try to fit in. But now Sean’s sister is getting married back home in Ireland and he doesn’t have anyone to bring to the wedding that will suitably piss off his conservative, Catholic family. With his bestie Callista in tow, he embarks on one outrageous Tinder date after another as the trip home gets ever closer.

Continue reading

Advertisements

Grotty, Bunker Theatre

Image result for grotty, bunker theatre

by Laura Kressly

At 22 years old, Rigby is a troubled, naive lesbian navigating the dating and club scene where everyone knows everyone else. The awkward, bumbling young woman just wants to get fucked and fucked up at the weekends – but between the nasty gossip and incomprehensible social politics, her good intentions are exploited. Though this stark, unsentimental view of the London queer scene has moments of comedy and poignancy, the rambling script lacks a focused and coherent journey.

Continue reading

Devil With the Blue Dress, Bunker Theatre

Image result for devil with a blue dress, bunker theatre

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.

Continue reading

Eyes Closed Ears Covered, Bunker Theatre

https://i1.wp.com/everything-theatre.co.uk/wp-content/uploads/2017/09/Eyes-Closed-Ears-Covered-Danny-Boy-Hatchard-and-Joe-Idris-Roberts-photos-by-Anton-Belmont%C3%A9.jpg

by guest critic Liam Rees

Alex Gwyther’s Eyes Closed, Ears Covered is a slippery play that continuously raises questions. We’re immediately presented with Alyson Cummins’ concrete-grey, angular set, suggestive of a brutalist play park in a rundown housing estate. A recording of a distressed phone call to the police about a pair of young boys and a terrible act of violence adds tension. Gwyther’s script immediately has us hooked with the right amount of specific details to suggest what may have occurred whilst not to revealing too much.

Continue reading

Bechdel Testing Life, The Bunker

https://i0.wp.com/citizenshipandsocialjustice.com/wp-content/uploads/2014/12/BechdelTestIdea.jpg

Women don’t always talk about men.
Women don’t always talk about men.
Women don’t always talk about men.

It bears repeating because it’s often forgotten, ignored or not believed. Popular culture is particularly deaf to the sentiment, and theatre still likes to rely on this inaccurate gender trope. Whilst this has been slowly changing for some time, particularly on the fringe, it’s still a problem.

Continue reading

The Enchanted, Bunker Theatre

https://i0.wp.com/exeuntmagazine.com/wp-content/uploads/The-Enchanted-The-Bunker-Corey-Montague-Sholay-Courtesy-of-Dina-T-e1497081364627.jpg

York and Arden are two men on America’s death row waiting to die. An investigator, known to the prisoners as The Lady, works night and day to save their lives. The similarly unnamed chaplain does the same to save their souls. As the two piece together the pasts of the men about to meet their deaths, a physical theatre ensemble and extracts from Rene Denfeld’s poetic novel The Enchanted creates a dreamlike, romanticised view of poverty-stricken rural America and the killers it breeds.

Continue reading

Abigail, The Bunker

abigail
Amongst the vocal campaigns fighting domestic violence against women and male rights’ activists misogynist responses, the fact that at least 4% of men are victims themselves is often overlooked. That 4% is reported abuse and no doubt there are many more cases that are never logged with authorities.

Fiona Doyle’s unnamed couple in Abigail aims to capture the universal potential for male domestic abuse, but misses the mark. Their relationship unfolds in non-linear episodes, but much is missed out and the fragmented structure causes a lack of variation in pace and energy.

Continue reading