by Gregory Forrest
When you think of women in the 19th Century, you probably think of drawing rooms and tea parlours; you might even think of the early suffrage movement. You probably don’t think about boxing rings.
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women
A herd of Zoo shows, Edinburgh Festival Fringe
by Laura Kressly
Over the last few years, Zoo has been quietly building its reputation as a venue, breaking the stranglehold that the Big Four and Summerhall have on high-quality work. With a loose focus on physical theatre and performance, they boast a programme varied in style, but also in quality.
Flushed, Edinburgh Festival Fringe
By Laura Kressly
Marnie and Jen are sisters and the best of friends. They share a flat, dating stories and countless nights out. There isn’t anything they don’t know about each other – until Marnie casually mentions a doctor’s appointment she has coming up.
Alma: A Human Voice, Edinburgh Festival Fringe
By Laura Kressly
Alma Margaretha Maria Schindler was the wife of three famous artists and the lover of a fourth. A composer herself, her achievements are overshadowed by the men she loved. It’s the typical tragic narrative of talented women from the past, and this show unfortunately perpetuates it.
With Child, Soho Theatre
by guest critic Maeve Campbell
Clare Pointing’s With Child isn’t actually about pregnancy. Facing a show that’s billed as six ‘talking heads’ style monologues delivered by six pregnant characters feels dauntingly alienating when you only know or care a little about trimesters or nursing plans. But thankfully, none of these themes are focused too heavily upon in Pointing’s perceptive, nuanced one woman show.
Emilia, Shakespeare’s Globe
by guest critic Nastazja Somers
Anger is what I am not allowed to feel.
Most days I wake up, think about the prospect of hiding my anger and dealing with whatever life throws at me, then consider hiding under my duvet. The theatre industry keeps throwing so much shit at women that sometimes the only way we can keep going is by unleashing our rage. Except anger is an emotion often denied to women. So we suppress and suppress and suppress. It’s a vicious circle and it keeps happening. EVERY. SINGLE. DAY. My hope of ever witnessing a true revolution for women in theatre began to disappear over the last year – until this show.
Polaris, Edinburgh Festival Fringe
by Laura Kressly
Val is a concerned, elderly citizen of her community. She believes that if everyone followed the rules on refuse disposal and the agreed schedule for mealtimes, every thing would be peaceful and orderly. She also believes that recent arrivals like Tracy, displaced by natural disasters, aren’t her problem.
