by Keagan Fransch
Oli and Leah are a queer couple who have just inherited a house. Well, Oli has, and Leah as their devoted, loyal partner has come along for the ride despite her misgivings about what this milestone in normativity will do to their carefully curated queer existence. But with books going missing, wires tripping and odd sounds coming from the basement, it soon becomes clear that perhaps the house is just as unsure of them, as they are of it.
by Chris Pickett
Two men on a nearly empty stage, reading aloud scripts from a sitcom first screened over fifty years ago, might not sound like the makings of a great night out. But for fans of the beloved television show, Dad’s Army Radio Show is a genuine treat.
by Archie Whyld
In 1988, when I was a 13-year-old boy in a provincial town in Derbyshire, being in
possession of Erasure’s number-one album The Innocents was a big deal. It was cool to
know the names of the synthpop duo, Andy Bell and Vince Clarke. ‘Yeah, we’re going to see Andy and Vince in concert, yeah, Andy Bell, Vince Clarke, Andy and Vince’, we bantered in the playground as casually as possible. So to see Andy Bell as Torsten in Queereteria TV, relatively up close, in the flesh, was for me a piece of pop history, big deal again, nostalgia.
by Maeve Campbell
There is so much to like about Biscuit and Field’s new show Paid Fantasist. Rebecca Biscuit (one half of Sh!t Theatre) and Nick Field are a charming, new double-act. They employ a fantastically kitsch science-fiction disco soundtrack, enviable gold lame and an impressive Kate Bush impression. The most intriguing thing, though, is the 1978 Times article at the centre of the piece, ‘A Life in the Day of Tom Baker.’
by guest critic Gregory Forrest
On 10 September 2001 – the last day of a different time – Army Major Charles Ingram won the jackpot of ITV’s ‘Who Wants To Be A Millionaire?’ In the days that followed, the Twin Towers fell and producers of the quiz show made their case against the Major, his wife, and a coughing contestant who supposedly cheated their way to the million pound cheque. As one character observes, take a step back and the whole story sounds too silly to be true. Which is precisely why West-End regular playwright James Graham picks it up.
Exchange Theatre sets The Misanthrope in a contemporary newsroom full of gossip, affairs, backstabbing and cocaine-fueled all-nighters. Alceste loathes the way his colleagues behave, but fancies the flirtatious Celimene in spite of his prejudices. His jealousy and inability to be polite to his colleagues causes a litany of issues that play out over their broadcasts, eventually leading to his lonely downfall.
by guest critic Alistair Wilkinson
The spectators are cast as the TV studio audience; a flashing sign above our head encourages us to applaud. Unfortunately there isn’t much to celebrate in this production set around two-out-of date performers trying to re-launch their career. The initial impression of the set is one of excitement and exuberance, but Emily Bestow’s design leaves the stage cluttered and incredibly busy. The actors must awkwardly navigate their way through whilst juggling a quick costume change, and avoiding being hit by a colourful disc of some sort. It’s a shame you can’t see the band through this disorientating mess.