When Israeli director Yael Ronen began rehearsals for her first production at the Kammerspiele in July 2016, there was no play yet, only a title. The first three weeks were spent on research and discussion, mainly about relationships today and the influence of technological developments on the future of sex: dating apps, body implants and cybersex. But when David S. went on a killing spree at a shopping centre in Munich on 22 July 2016, people thought Munich had become the first German target of a major terrorist attack. Presumably, there was more than one perpetrator targeting sites all over the city. This information proved to be wrong, yet rumours and speculation spread fear and panic through the channels of the social media. After this incident, the theme of the production changed dramatically – this presumed terrorist attack became the “point of no return” in Yael Ronen’s production.

Superposition: The net response caused by two or more stimuli is the sum of responses that would have been caused by each stimulus individually. The Superposition principle attributed to the scientific field of physics depends on a linear system producing a straightforward outcome. Drawing on this strand of science, Chanje Kunda takes on the role of scientist; dissecting and analysing life events that have contributed to her current status.

Courtesy of Stratford Circus Arts Centre.

Corrupt business propositions and anarchic violence are shrouded under the brim of the gangster hat. In the ruling dictatorship of Arturo Ui, Brecht’s Hitler parody is a gangster spectacle, but this production lacks the bite they so often chew over.

Courtesy of ADC Theatre.

“When there is a wall behind you and a knife in front, the enemy wants you to take the knife. But you do not take the knife in your body – you take it in your hand”. Purva Naresh’s emotive and explosive adaptation of this true story is one that captures the essence of feminism at its roots, and encapsulates the political power of theatre. A story that is both empowering and heart breaking, upsetting but enlightening – Pink Sari Revolution tells the tale of 400,000 women fighting for freedom in Uttar Pradesh, and their fearless leader Sampat Pal. (Syreeta Kumar).

Courtesy of West Yorkshire Playhouse.

This Beautiful Future is a transporting vision of innocence and regret as teenage lovers Elodie (Abigail Lawrie) and German soldier Otto (Tom Morley) shelter from the chaos of France’s liberation and dream of better days ahead.

Courtesy of the Yard Theatre.

This light-hearted show is full of fun, frolics and laughter from the outset. Displayed on stage 3 at the Northern Stage, the cast interact with the audience as soon as they begin to enter the room. This Esther McAuley play is aimed at 6-11 year olds, families and schools and contains British Sign Language throughout.

Courtesy of Northern Stage Theatre.

Eugène-Marin Labiche was one of the top comic playwrights of the 19th century. He wrote more than 175 farces, most of them focusing on the bourgeios class. Although full of dramatic devices, Labiche’s plays provided true insight into human nature and raised the genre to a new level. The best of his works include Le Chapeau de paille d’Italie (1851; The Italian Straw Hat); Le Misanthrope et l’Auvergnat (1852); Le Voyage de M. Perrichon (1860; The Journey of Mr. Perrichon); and La Poudre aux yeux (1861; “The Bluff”), which is now presented at the Kammerspiele in Tobias Haberkorn’s new translation.

Courtesy of Julian Baumann.

Anna-Sophie Mahler‘s musical theatre production premiered at Kammerspiele – Kammer 1 – in November 2015 and was subsequently invited to the Berliner Theatertreffen. Her critically acclaimed adaptation of Josef Bierbichler‘s 2011 novel Mittelreich returns to the Kammerspiele this month after Anta Helena Recke’s “black copy” of the production was presented in October and well received by her audience. Recke’s production of Mittelreich was an exact copy of Anna-Sophia Mahler’s work using a black cast and I am curious to see if my perception of the production would be different seeing it with the original white cast.

Courtesy of Judith Buss.

18 months ago now, the concept of the Theatre  & Technology Awards was born. In a world whereby technologies are advancing at speed, it was about time disciplines both onstage and online were celebrated. After noticing there was a gap in the market to champion these achievements, preparations to organise a team of industry professionals to judge as well as encourage critics and the public to cast their votes were well and truly underway. Fast forward to October 2017 and a gathering of theatre creatives were in attendance at the debut awards ceremony at the Bush Theatre. The evening, hosted by the charismatic Paul Lavers made for a memorable event.

Courtesy of Taiyo Nagano.

Stewart Pringle’s concise two hander Trestle is a leisurely stroll of a play that discusses the realities of getting on and growing old. Harry (Gary Lilburn) is a shy retiree who occupies his time wrapped up in being chair of the Bullingham Improvement Committee whereas sprightly Zumba instructor Denise (Connie Walker) believes in grabbing every opportunity as it comes. They meet in the brief handover period between their respective groups gathering at the local community hall and the drama plays out with a precise awkward Britishness.

Courtesy of Robert Workman.