by an anonymous guest critic
Isobel Rogers delivers a spectacular one-woman performance, collating humorous millennial moments and sharing them in a unique musical format. As the show opens Rogers takes on the persona of ‘Elsa’, a bored, overqualified waitress who is dreaming of a life beyond her bill-paying day job, where she can actually do the career which she has a degree in. This is certainly a scenario most of the creative audience can relate to.
by guest critic Tom Brocklehurst
Sometimes you catch a show on it’s way to greatness, which is one of the joys of seeing shows at an early stage. However, if they’re not advertised as work-in-progress, the audience can leave feeling shortchanged and disappointed.
by guest critic Amy Toledano
Little did I know when I was walking into Waterloo East Theatre, that I wasn’t just seeing a show about mental health and surprise parties. I was actually attending said party with our wonderful, if not a little anxious, party host and creator of this highly entertaining one woman show: Lauren Silver.
by guest critic Ava Davies
Mark Wilson’s two-hander is constantly shifting. Kathryn O’Reilly and Stephen Myatt-Meadows slip from one character to another, circling each other, sometimes with love, sometimes with hate, more often than not with both, on Sarah Meadows’ claustrophobic traverse staging.
by guest critic Ava Davies
The raging influence of Alice Birch’s revolt. she said. revolt again. runs through this performance art/theatre piece by Abi Zakarian. The six-strong ensemble of women (not all white, which is good, but it could always be less white) are trying to discuss feminism. Is that even the right word anymore? It’s become bogged down in pop culture references, in mass-produced t-shirts, in discussions about depicting vaginas in art. I HAVE A MOUTH… occasionally feels like it drifts into white feminist territory, as much as it tries to unpick and dissect that movement.
by guest critic Serena Ramsey
One in three women will have an abortion at some point in their life. The chances are excellent that you know someone who has had one, but being such a taboo subject, we are conditioned to not discuss it.
by guest critic Gregory Forrest
There are no openly gay male professional footballers currently working in Britain. Of course, there are almost definitely gay male professional footballers currently working in Britain, but the prospect of coming out in a sport well known for its chanting crowds and tabloid-splashing players is a daunting one. Paloma Oakenfold’s new play Stud tackles this issue head on.
by guest critic Serena Ramsey
As an audience member, I always love when the actors break the fourth wall I love to feel immersed in the world. Within the play. AI Love You not only immerses us in a world surrounded by Amazon Echoes, drones and hover boards, but gives the audience the chance to dictate the plays structural direction. The power is completely within the hands of the onlookers who are given the role of jury and critics in this snappy and deeply moving play.
by guest critic Ava Davies
all good artists are dead return with their second show as a collective: JOY is a wide-ranging and stretchy exploration of diaspora and sex. Dina Gordon performs as Joy, a woman who contains multitudes.
by guest critic Amy Toledano
To say that Assmonkey: In Conversation is a show like any other at the Vaults is doing it a disservice. Original, laugh-out-loud funny, and at times touching, this show, created and performed by Sophia Del Pizzo, is something not to be missed.
The Play's The Thing UK 