Review

It's no secret that Blackshaw Theatre Company have 'fingers in lots of different pies'. Podcasts, new writing events, full length plays, they have never been one to rest on their laurels. Their latest play Black Shuck – which is directed by Ellie Pitkin and currently running at The Bedford pub in Balham as part of Wandsworth Arts Fringe Festival – has on the surface more than a dash of Hound of the Baskervilles about it.

While London is blessed with an abundance of mainstream theatres and fringe theatre venues, there are arguably only a few venues in London that in conjunction with hosting plays and scratch nights, have a fully developed programme for the nurturing of playwrights' work – and the Brockley Jack Studio Theatre is one of them. Its annual Write Now Festival is in its seventh year and on Saturday 7th May, hosted a day of short plays under the theme of Fight Or Flight. In keeping with previous years' entrants, the responses were of an exceptional high standard, with equally diverse subject matter.

"I think I have a soul and you're in it. I think I have a soul and you're it."

A lot of use it is you or anybody else saying what they'd do if they had their time over again. A fat chance they have, haven't they? Time moves on and it takes you with it, whatever you say -- as I know only too well.
Sally Pratt, I Have Been Here Before.

It is great to see a female character in a children’s production who challenges the formulaic princess narrative. Children and adults alike are captivated by this performance which combines aerial acrobatics, live music and storytelling.

Meet the writers behind Female Arts 'Rebellious Acts' production this Saturday 14th May at South Street Arts Centre. Introducing Hannah Roe, the writer of 'St George's Day'.

Meet the writers behind Female Arts 'Rebellious Acts' production this Saturday 14th May. Introducing Ness Lyons, the writer of 'I Smile Politely'.

Free writing workshops on Saturday 14th May from Female Arts magazine at South Street Arts Centre, Reading Berkshire

No one can be good for long if goodness is not in demand.
Bertolt Brecht

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In many cultures there are tales of how the Divine have visited mankind in disguise, to see if they are found worthy. With this in mind The Good Person of Szechwan, written by Bertholt Brecht, is a parable that uses the familiar trappings of common folklore as a jumping off point for asking complex moral questions which ultimately have no answer. So how does one tackle such potentially heady material?

In a version adapted by Venetia Twigg and directed by Alice Sillett, female-led Theatrical Niche  have made Szechwan their own. Utilising puppetry, object work, physical theatre and live music, they have honoured the spirit of the original text, while making it accessible to audiences of all ages.

Possessing the rich, black humour of a Joe Orton play, Blink.Theatre's Mr Kolpert leaves an indelible mark on the imagination. Directed by Lotte Ruth Johnson, the play can be described as a farcial version of Abigail's Party, with two couples involved in all sorts of antics – all stemming from a 'joke' about a dead body (the eponymous Mr Kolpert) in a trunk in the middle of the room.