by Bryony Rae Taylor
Katie Arnstein’s show Sexy Lamp tears down the acting industry, its gendered prejudices, its inclination to dispose of women and to objectify them, all in the space of an hour. She is eloquent, gentle, and the show packs a long-lasting impact.
by Grace Bouchard
You know these women, the four office temps sitting at a shared desk. Unnamed and anonymous, they go about their days inputting data into spreadsheets, quietly offering cups of tea to those who might like one. They don’t give too much of themselves away to anyone around them. It is the nature of their job to be useful and to fade into the background.
by Euan Vincent
This play literally packs heat. Airlock theatre’s one-woman show tackles guns, deprivation, and asks what it’s like when a young mind is faced with life-affecting choice. It hurtles through its hour driven by the insistent, virtuosic energy of writer and performer Rosanna Suppa.
By Becky Lennon
content warning: discussions of domestic violence
Patricia has spent the past year constructing the perfect speech to deliver to the man who used to hit her. Patricia now has to decide if she is going to go have dinner with him, what she is going to say, how she is going to say this, as well as what she is going to wear.
by Laura Kressly
Seven-year-old Crispin, newly orphaned and the last remaining member of the Clumps family, has inherited a creepy, country pile called Raddlesham Mumps. Managed by an ancient butler who could have stepped out of a Dickens novel or The Addam’s Family, of course there’s more to this house than meets the eye. The bright and articulate child questions what seem to be supernatural forces and a familial curse, but the answers he gets in this narrative poem are far from savoury.
by Meredith Jones Russell
Crocodile Fever is a shocking, staggering, darkly hilarious play which comes into its own in its second, bizarre half.
by Nastazja Somers
Casa Festival, London’s largest Latin American arts festival is an annual event that is not
to be missed. Some of the most groundbreaking and refreshing work I’ve seen in my 8 years in London was staged at Casa, including the incredible, heart-stopping 2017 production of Mendoza, a Mexican adaptation of Macbeth. British theatre reflects British society so to say a resistance to staging international work is quite present would be an understatement.