The Canary and the Crow at the Arcola Theatre in Hackney is a very impressive piece of ‘gig theatre’; a term I was previously unfamiliar with. On this evidence, Middle Child (a ground-breaking company from Hull), have created a potent hybrid of drama, direct address, chamber music, hip-hop and grime. It’s also dynamic, didactic, arresting and fresh and, without realising it, I’ve waited to see a theatrical development like this for a quite a while.
Drawing parallels with our current societal landscape where we’ve witnessed youth violence on the rise, writer and performer Kalungi Ssebandeke travels back in time to Georgian England to give voice to little known boxing superstar Bill Richmond. Created as part of his drama school training, Kalungi presents Black Terror at this year’s Vault Festival from 28th January until 2nd February. Ahead of the run, Kalungi tells us more about exploring Bill Richmond’s narrative, what audiences can expect and what his plans are for the show post Vault Festival!
There’s a monkey in the kitchen, it’s drunk and is pleasuring itself with a hoover, yet I feel an overwhelming sadness throughout this masterfully performed story. Despite not always feeling entirely justified, Chimpanzee is clever and well thought out, and the mime work is very good.
To pursue and sustain a career within the arts is a challenging venture, yet many of us chase the dream. Familiar to many, the thought of earning a living from your very own creativity is an exciting prospect. Tapping into this desire to create, Giacomo Puccini‘s renowned La Bohème captures the tumultuous reality of juggling an ill fated relationship with the daily struggle of pursuing an arts career and making a living.
Courtesy of Tristram Kenton
In December 2019, Akeim Toussaint performed in London his solo show Windows of Displacement at Stratford Circus, which returns to London on 21st and 22nd March for the Vault Festival. It is a transfixing hour of spoken word, song, and dance.
Theatre of the Absurd was a term coined by theatre critic Martin Esslin in 1960 to describe a movement of largely European playwrights – Beckett, Ionesco, Genet and Pinter to name a few. They tackled, in their mainly non-linear, seemingly illogical plays, the tragi-comic delusions of characters adrift in an arbitrary universe devoid of, and resistant to, any kind of meaning or purpose.
Due to its huge success in both the UK and abroad, it’s no wonder that Conor McPherson’s triumphant tale of 1930’s Minnesota has returned to the West End. When it premiered back in 2018 the show received lots of critical acclaim, quickly becoming one of the favourite new musicals to see. This is the second time I have seen the show, but with a brand new cast, it feels totally fresh and as exciting as before.
Fancy frills and festive frivolities welcome energised audience members into the kooky world of one of York’s most famous panto houses!
Boris Johnson winning a winter election couldn’t have come at a better time for Mike Bartlett and his London debut of Snowflake at the Kiln Theatre. Aptly titled one might say to fit Bartlett’s flare for goading the political discourse du jour. Though generational tension bubbles away, the title doesn’t live up to the boomer vs millennial hostility one might have expected, if that’s what you’re after just log on to Twitter.
Courtesy of Manuel Harlan.