In a growingly technological world, whereby social media can often act as an initial point of the call, the concept of ‘the letter’ can seem distant. An email now the sign of our times, the writing and receiving of a physical letter connects us to a world of old, returning us back to a time whereby the letter dominated the realm of communication. Delving into the artistry of letter writing and the power of a letter in regards to uniting two or more souls who are at a distance, Kashyap Raja presents Letters at the Network Theatre.

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Maharlika is a Filipino expression that roughly translates as ‘free man’ or ‘warrior man’. An expression that concisely encapsulates the concept of independence, this term is fitting for this integral movement committed to showcasing works for and from Filipino artists. Live streamed from Grow Hackney on Monday 28th February and available to access online for a short time via YouTube, Maharlika UK Filipino Artist Platform is a necessary step in the right direction in regards to fostering intercultural exchanges locally, brilliantly addressing the need for greater diversity on our stages.

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Six years post arriving in the UK to seek a safer environment to live as a result of rising protests in his native Sudan, performer Mohand Hasb Alrosol Abdalrah generously offers his own experiences of not being able to return to his homeland, a story that I’m sure many who have migrated can relate to. Alongside fellow PSYCHEdelight theatre member Peter Pearson, Mohand & Peter fuses clowning, physical theatre and improvisation to craft 70mins of nostalgia, yet also looks towards the future.

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When Thomas Bernhard’s last drama Heldenplatz (Heroes Square) premiered at the Burgtheater in Vienna on October 7, 1988, it caused a public uproar. Before the play was published, carefully selected extracts of the text had been leaked to various papers and, taken out of context, led to massive protests against the play. Austria’s president Kurt Waldheim, a former officer of the SA, called the drama an “insult to the Austrian people”, and Thomas Bernhard was physically assaulted for allegedly besmirching Austria’s reputation. Bernhard’s play led to a heated debate about Austria’s role in the Nazi era.

Courtesy of Judith Buss.

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The notion of  ‘darkness’ differs culturally, the westernised view one of evil, fear and the unknown. A facet that we tend to brush aside and reserve for particular parts of the year, this seldom is focused on. Delving into her own ancestry and exploring the potent impact of generational trauma as well as the power of the spiritual realm, writer and performer Julene Robinson delivers a resonant hour of theatre, theatre as a form of healing.

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An outrageously funny and philosophical piece of gig theatre which incorporates an eclectic mix of performance art, live music, stand-up comedy, and video installation with smoke machine galore and plenty of white discomfort to go around. South African born, Swiss based Ntando Cele comes on as her alter white ego Zimbabwean Bianca White in a dragged-up inversion of blackface. Refreshing and a must catch on until Saturday 12th March at the brand spanking newly revived theatre Brixton House, formerly Ovalhouse, they’ve opened the season strong with Black Off.

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Six years on from NFL player Colin Kaepernick’s brave decision to take the knee in protest to police brutality and inequality, particularly post pandemic and the Black Lives Matter movement, movements revolving around civil rights continue to take shape, conversations on race pertinent as we rebuild moving forward. Announced winner of Theatre503’s International Playwriting Award during the height of the pandemic, graduate of the Carnegie Mellon School of Drama and activist Pravin Wilkins receives his much deserved debut of play Moreno, a commentary on theatre of sport and political protest.

Courtesy of Adiam Yemane.

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Lyndsey Turner’s revival of After the End couldn’t have been better timed, what with post-lockdown, outbreak of war, the scandals in the Met office and the rise of “incel” culture. Dennis Kelly’s play premiered in 2005 and that’s what the reviews said then. I guess this might make After the End timeless.

Courtesy of The Other Richard.

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Tyrell Williams’s first full length play directed by visionary Daniel Bailey makes its stunning debut at the Bush Theatre to rapturous applause, laughter, and cheer. As I join the audience in their standing ovation, I struggle to find a single piece of constructive criticism. I whoop and whistle even though my throat is parched from laughing throughout. This play is perfectly written, perfectly produced, and perfectly performed by three incredibly talented young men who tell Williams’ story with comedic genius, high energy, and emotional mastery.

Courtesy of Craig Fuller.

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The Collaboration is a paint-by-numbers sort of a play. Simple yet satisfying. The show is set up as a boxing match between two of the greatest artists of the 20th Century, Andy Warhol (Paul Bettany) and Jean-Michel Basquiat (Jeremy Pope):

1. Warhol and Basquiat’s art-dealer, Bruno Bischofberger (Alec Newman), sees an opportunity to make a lot of money by getting them to work together.
2. Warhol, the cynic who is all about money, is reluctantly convinced to work with Basquiat.
3. Basquiat, the new kid on the block, unsure of what to do with all their money, is reluctantly convinced to work with Warhol.
4. Warhol is intimidated by Basquiat’s freedom.
5. Basquiat is frustrated by Warhol’s lack of soul.
6. Basquiat softens Warhol.
7. Warhol falls for Basquiat.
8. They end up making art together and living happily ever after.

Courtesy of Marc Brenner.

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