Peta Lily: Chastity Belt, Lion & Unicorn Theatre - Review

Going to a Peta Lily show isn't like other. Whether she knows you or not, she'll make a point of saying hello to everyone. This isn't an 'audience'. This is 'friends and family' – some who were beforehand, some who will be by the end.

Author's review: 
4

Octopus, Theatre503 - Review

Ever since the Brexit vote earlier this year, the rise of race-related hate crime in the UK has increased exponentially. In conjunction with this, Home Secretary Amber Rudd has tried (albeit unsuccessfully) to get companies to declare how many non-British personnel they have working them... Afsaneh Gray's play Octopus, which is close to finishing its run at Theatre503 makes for unnerving viewing, as its satrical elements become more prescient by the day.

Author's review: 
4

Tanja, Camden People's Theatre - Review

One of the last times I was at Camden People's Theatre was for E15, a show about vulnerable mothers in Newham who are being rehoused outside of the capital. This week the venue has been home to Strawberry Blonde Curls Theatre's show. With its use of verbatim theatre, its themes of the displacement of women and challenging the practices of the status quo, it certainly complements previous productions that highlight the plight of vulnerable women. Written by Rosie MacPherson and directed by Hannah Butterfield, Tanja tells the story of a woman, one of many who are 'housed' at Yarl's Wood detention centre in Befordshire for female asylum seekers.

Author's review: 
4

Review: Give Me Your Skin (Work-In-Progress)

“Calm Down Dear: Camden People's Theatre's annual festival of feminism return

Author's review: 
4

Can You Hear Me Running? The Pleasance - Review

Losing any one of your five primary senses is particularly devastating, but to lose one's voice (especially as an actor) is unimaginable. Written by Jo Harper, Can You Hear Me Running? is based on Louise Breckon Richards' own journals about the road to running the London Marathon – an unusual means to recovering her voice after a rare condition.

Author's review: 
3

Acorn, Courtyard Theatre - Review

The compulsion to tell stories is as old as mankind itself. In fact it this, among other things, that sets humans apart from the rest of the animal kingdom. Written by Maud Dromgoole and directed by Tatty Hennessy,  Acorn looks at how this primeval urge and how it's been sublimated in 21st century culture.

Author's review: 
3

Blue Heart, By Caryl Churchill

Blue Heart, By Caryl Churchill. A Double Act of two short plays (first produced in 1997), Hearts Desire and Blue Kettle. At the Tobacco Factory Theatre, Bristol.

Author's review: 
5

Plastic Figurines, New Diorama Theatre - Review

Written by Ella Carmen Greenhill and based on her own experiences with her autisic brother, Plastic Figurines is a personal play – one that couples a sensitivity to the the subject matter with the capacity to look at the unvarnished truth. As the fictional brother and sister Rosie and Mikey, Vanessa Schofield and Jamie Samuel only have each other to rely on after the death of their mother.

Author's review: 
4

The We Plays, Hope Theatre - Review

A gender-balanced evening of insightful monologues, The We Plays show once again that whether they are male or female, writer Andrew Maddock has a knack for creating well-rounded believable characters, whose circumstances are relatable yet unpredictable.

Author's review: 
4

Imogen, Shakespeare's Globe - Review

The hallmark of Emma Rice's inaugural season as Artistic Director at the Globe has been drawing out the feminine experience from Shakespeare's canon. Imogen (or rather "Cymbeline renamed and reclaimed") places the focus firmly on the Cymbeline's daughter rather than the monarch whose rash actions precipitates the play's unfortunate chain of events.

Author's review: 
4

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