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.
by Laura Kressly
America’s gun epidemic is easy to criticise and ridicule from afar. But Americans, even those who oppose gun ownership, know that the firearms debate stems from deeply entrenched cultural mores and politics, and is also intertwined with class, regionalisms, race, money, and so on. In Sarah Kosar’s latest play, gun-obsessed Sam and her husband John are trying to quit their gun addictions when a local girl disappears, threatening their new, anti-weapon convictions. Cinematic lighting and sparse design heightens the nuanced script, and compelling performances support the story of one of many reasons why someone may want to own a gun.
by Laura Kressly
After graduating from City College of New York in the 1960s, Assata Shakur joined the Black Panther Party. In 2014, after enrolling at Washington University in St Louis weeks after unarmed teenager Michael Brown was killed by a white police officer in the same city, Ambrosia starts going to Black Lives Matter rallies. Moved by injustice decades apart, the two Black women are subjected to systemic racism and violence in their pursuit of freedom. Apphia Campbell performs them both, embodying their passion and anger through storytelling and song, in this lightning-strike of a show.
by Laura Kressly
Michael and his best mate Charlie are typical teenage boys – they just want to hang out and play Fifa and party. Michael’s patient girlfriend Liv is often at their side, his mum is there to fret and nag, and his half-brother Josh reliably winds him up. They’re 17 and life is good – until it isn’t.
By Laura Kressly
Tyler had been living a life familiar to many new Londoners – frustratedly waiting tables whilst hoping for excitement and success that would make his mum proud. Then, a night out in Soho inspired him to give up one kind of service for another, and he’s now loving his work as an escort. The men, the money and the sex make an equation that’s irresistible and thrilling, but not without risk.
The Play's The Thing UK 