Roy Williams’ new version of Sophocles’ ancient tale of familial warfare and hubris is brought to Theatre Royal Stratford East after touring the UK at the end of 2014. With this re-telling of Antigone, a story that has been told thousands of times in the last 2,500 years, Roy Williams sheds new light on an old problem. Just how much are we willing to stand up for what we believe in? How far should we go to protect our honour, or that of our family? This is what Williams addresses in a bleak, filthy Thebes where soldiers are “fam” and gangland rivalries are all that matter.

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Both world famous and putting on plays that receive rave reviews, the West End and Broadway are home to some of the most popular theatres in the entire world. With millions attending productions at each location every year, there’s no doubt that they’re very popular.

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Going to The Vaults for the first time in the old Waterloo tunnels was not what I would call an enjoyable experience. As fringe and hipster as it may look it also looks like a third world country could do better in creating a theatre venue that does not intoxicate people with its dampness. It is a very claustrophobic place, uncared for, and it made me uncomfortable. Of course it won’t be the same for everyone – many may like the vibe, the decoration or the graffiti on the walls of the tunnels.

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The Vaults is a cavernous multiplex of creative spaces and bars found in the graffitied corridors under train tracks leaving Waterloo. It oozes a cool friendliness akin to the warmest of creative hubs. Arrive early or stay late because you’ll want to spend a decent amount of time there. Ushered into one of the compartments branching off the central thoroughfare, one bloke lay dramatically prostrate before us. Reservations about melodramatic physical theatre and interpretive dance are quickly washed away when our bard, George Mann, arises to tell us the story of Homer’s Odyssey.

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Having seen Karis Halsall’s part in the ambitious 503Fusions (which she also curated) last month, it was with, I’ll admit, a little trepidation that I entered the aptly named “Cage” space in The Vaults under Waterloo last night for Megolopolitan. Extended from the 15 minutes I saw her perform at Theatre503, this is Halsall’s hour long piece, which pulls together projected images, live and pre-recorded music and sound, spoken word and vignettes, performed by Halsall and her collaborator Samuel Organ. I had thoroughly enjoyed her short piece at 503, but how would it translate to something longer?

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Behind Closed Doors is almost a lesson in why you shouldn‘t have fourteen performers in a giant cave performing together. Then again, it is also a great example of why you should. The Chaménos Collective trades in shows that feel much bigger than they are and continue to put on extremely interesting shows, warts and all.

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Maiden Voyage Dance bring Enrique Cabrera‘s short, playful Quartet For 15 Chairs to the banks of the Thames. As part of the family festival currently running there, four dancers get on stage at the Queen Elizabeth Hall and, well, play with chairs.

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UK’s biggest dance event Move It combines dance classes, live dance performances, a freestyle stage, a showcase theatre, merchandising and shopping all in the same space: the Olympia. It is undoubtedly an exciting experience to be immersed in such an environment, with people dancing joyfully everywhere regardless of their level of skill. Everyone is free and encouraged to express themselves through movement, from children to people in wheelchairs.

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As you enter the theatre you can’t help but notice the giant sweeping piece of silk held up by helium balloons, shaped in a crescent across the stage. We are later told that it represents everything, this represents the Earth.

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Ablutions: an act of washing oneself. A word associated with ceremonial routines, sacred and ritualistic in its nature, how could this possibly relate to the goings on of a small LA Based bar you may ask? Well it does seamlessly. Adapted from Man Booker Prize nominee, Patrick DeWitt‘s novel, Ablutions smartly yet subtly questions whether you can change the cards dealt for yourself in life or not.

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