by Zahid Fayyaz
Fresh from acclaimed runs in New York and Edinburgh, the new writing power-house puts on the one-person monologue from actor and writer Khawla Ibraheem. The show relates the struggles of Miriam in her everyday life in Gaza, whilst Israel is taking military action.
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by Joanna Trainor
“I am always performing.”
A tin shack has appeared on an empty patch of land in the exclusive neighbourhood of Stillwater in Cape Town. The only black couple on the cul-de-sac have been elected by the other “concerned residents” to serve an eviction notice.
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By Luisa De la Concha Montes
What makes us human? Is it the capacity to feel? Or perhaps our experiences, and how we can sew together memories to create an identity that we can call our own? Is it how we develop relationships with other humans? The ease in which we crave proximity, or fall into patterns of desire? The Employees, a play based on the International Booker Prize-nominated novel by Olga Ravn and directed by Polish theatre artist Łukasz Twarkowski, poses these questions to the audience in quite an unconventional manner.
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by Diana Miranda
Death and The Cat, directed by Penny Gkritzapi, explores life’s ultimate and inevitable outcome – death – wrapped with absurdist humour and a surprising amount of heart. Robert Emlyn Slater’s debut play gives life (ironically) to Death. What starts as a comedy full of quirky characters slowly reveals itself as a deeper reflection on questions about what infinity means, and how the power of connection may ground our search for meaning within the immeasurable.
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by Zahid Fayyaz
Immersive theatre specialists Punchdrunk have opened their second show in what is their own, custom-built space in Woolwich Arsenal, following on from The Burnt City. Based on a 1901 gothic short story, The Moon Slave, written by Daisy Johnson and with narration by Helen Bonham Carter, this is a relatively starry shift from the company. They have also moved away from their previous productions by putting together a linear narrative, rather than allowing the audience free reign over the space and story.
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by Zahid Fayyaz
First performed in 2015 at the National Theatre, Duncan Macmillan’s addiction drama subsequently had a run in the West End and then off-Broadway in New York. It is now back again in the West End after almost 10 years. Denise Gough once again takes the lead role of ‘Emma’, an actress struggling with addiction and trying to get clean.
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by Archie Whyld
What do German theatre directors eat in the morning? Why, Brechtfast, of course. Early on in Polly (The Heartbreak Opera), a similar, and admittedly better, Brechtfast joke was subtly slipped in, in a moment of metatheatrical gorgeousness, and so, being a lover of all things Brecht, I thought – this is for me.
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by Diana Miranda
As we enter the space, playwright and performer Nick Cohen greets us as if we’re special guests at a private screening. He’s wearing a black suit, and has a polite if fidgety demeanour. When the studio’s doors close, he expresses a mild disappointment that Ryan Gosling hasn’t shown up.
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by Zahid Fayyaz
This is a brand new venue in the West End that recently opened in Covent Garden, currently hosting a revue of Stephen Sondheim songs as its opening production. The performance space is upstairs at the Prince of Wales pub. It is a cozy venue with a supper club vibe to it, and the audience is up close and personal to the stage and its performers.
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by Maria Majewska
Paweł Pawlikowski’s 2018 film Cold War is a profound account of Polish identity, cultural homogenisation, politicisation of folklore and the trauma of migration from the Soviet bloc. As a Polish migrant with a deep connection to this story, I was keen to see how this masterful, nuanced film would translate to the stage. Tragically, the Almeida’s production is an insulting missed opportunity.
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