Closed Lands, VAULT Festival

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By Joanna Trainor

Concertina wire. I’m not sure it’s possible to get LegalAliens’ constant repetition of the definition of concertina wire out of mind. This sweet voice calmly talking about the tiny blades used to cut through material and skin over and over again is haunting. Continue reading

The Last 5 Years, Southwark Playhouse

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By Joanna Trainor

Jamie Wellerstein is the ultimate fuckboi.

You know it’s true, but you always forget it until you’re watching the show. You’re all happy to be his Shiksa Goddess, and swooning over his proposal and then – BAM! “I’m sorry I slept with someone else, you should have paid more attention.” Well no Jamie, that’s not acceptable behaviour, is it?

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Sticky Door, VAULT Festival

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by Joanna Trainor

Disclaimer: Good reviewing practice is not to put yourself into your article – your review is about the show, not the journalist. But I have such an emotional connection to Katie Arnstein’s work, that I struggle to write about her productions as ‘objectively’ as I perhaps should. It’s probably why it’s taken me so long to put pen to paper.

Rhubarb and custard sweets, a ukulele, placards, and a voiceover montage of misogynistic statements that make you oh so angry – all signs point to the final installment of Katie Arnstein’s It’s A Girl! trilogy.

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Atlantic, VAULT Festival

10by Joanna Trainor

I love an illuminated umbrella. All shows could be improved by a light-up umbrella.

Somewhere beyond the sea, Emma waits on the shoreline by the Golden Gate Bridge, and PJ looks out from some of England’s slightly less famous white cliff faces. At face value this is a story about a long-distance relationship and the struggles you face when you’re in one. But more than that it’s about isolation, dependence and the ties we have to other people. There are sections that are a little obscure, and the performance takes a while to warm up, but the underlying theme will always pull you back in.

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Mephisto [A Rhapsody], Gate Theatre

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by Laura Kressly

Aymeric has been working at the Balbek Theatre, in a small town miles away from the nation’s capital, its culture and politics, for five years. He longs for fame, excitement and to leave the relentless monotony of provincial life behind him and will do anything to achieve these goals. Along with his discontent, right-wing sentiment grows across the country. In the capital, the ‘liberal elite’ make great art, drink champagne and argue over how, as state-funded artists, they should respond to the rising fascism – or if they can at all.

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