by guest critic Joanna Trainor
Nine characters, three stories, one not-so-boring room.
Loosely linked by themes of crime and mystery, The Boring Room is made up of three unusual pieces that finish moments before a satisfying ending. A door is about to open, a decision made, a body buried and the audience are plunged into darkness.
by guest critic Maeve Campbell
If you are invited to a party, and the host tells you: “It’s going to be crazy,” don’t go. It will inevitably be really, really boring.
by guest critic Joanna Trainor
A cabaret, but also Tinder, and a break up, sending nudes, watching porn for the first time and embracing or fearing female sexuality. The Internet was Made for Adults squashes a few too many storylines into one 70-minute show, some of which have almost nothing to do with the internet at all. Individually they would all make interesting and important subjects for a play, but crammed together it’s too disjointed to really
enjoy.
by an anonymous guest critic
Witty, laugh-out-loud, Irish brilliance: Erica Murray’s London debut of The Cat’s Mother demonstrates how a female-centric production can truly be a hit.
by guest critic Ava Davies
Boys, the inaugural piece by physical theatre group The PappyShow, is about exactly that. It’s an exploration of manhood, of masculinity, of what it means to be a man of colour in the UK today. It’s about mess and silliness and play and pain. It’s about the complexity of selfhood – because how can one man possibly contain all these multitudes?
by guest critic Lara Alier
Uber, happy hour, Tinder, late night cheesy chips are all part of the vocabulary of a Londoner’s life. So are two complete strangers waking up next to each other. Usually one of them will remember, and even find a blurred picture of you both at 4 am surrounded by empty glasses. Yet neither has any memories of the night before.
by guest reviewer Daphne Penn
Holly Morgan and Tom Moores create an upbeat, haphazardous cabaret sketch show that is loosely based on the daytime TV show Ready Steady Cook’s audience participation in order to judge important controversial women from history. Well, not all the women, not Madonna because ‘She’s too perfect to judge’ – in much the same way the TV show audience judges food.
by guest critic Ava Davies
On the first page of WHITE’s playtext, Koko Brown writes, “This play is for anyone who has ever felt like the other”.
“You have the best of both worlds/ But you still have to pick a world/ You have to pick a side”
by guest critic Lara Alier
Two women get married. Eight months later, two women separate. The relationship is not measured by its length, but by its electric, high intensity. We see snapshots of their lives, flying in and out their present and their past.
by guest critic Joanna Trainor
There’s a mole in the secret service.
Neil Connolly is spymaster James Sneezy, and he’s gathered us all to find out who the double agent is. It won’t be easy for the audience though; there are high levels of security to get through, cryptic communications to decipher and definitely no running.
The Play's The Thing UK 