Gravity underpins how we manoeuvre and our relationship with the space around us, gravitational acceleration a term used to define the speed at which an object moves when only gravity acts upon it. The earth’s gravitational acceleration – 9.8 metres per second squared.  A foundation of humanity that will forever intrigue, GöteborgsOperans Danskompani choreographer Damien Jalet presents Skid the first in a duo of works that explores the notion of gravity further. Also taking to the stage is show SAABA – how we occupy earth too is a fascinating thing, how we navigate rituals alone, as well as within communities, routines that connect us all. Sharon Eyal choreographs a work in collaboration with Dior’s Creative Director Maria Grazia Chiuri that celebrates our human form.

Skid – choreographed by Damien Jalet.

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Never seen a play so earnestly heart breaking. I had high expectations going in which usually makes me weary because, being a critic, the worst feeling is being disappointed. Especially by someone as big a deal as Lenny Henry who has been entertaining the nation since the 70s. He’s been a big deal for so long it’s easy to forget why. Well, this play will tell you why.

Courtesy of Tristram Kenton.

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Traditions can often have us stuck in patterns that are outdated, and therefore need to be examined and challenged. Marriage a cornerstone of many a society – the ultimate declaration of love and union as well societal status. The concept of divorce heavily frowned upon in particular circles, particularly a century ago, during wartime England. Crafting an observation of the gradual breakdown of an upper class marriage, Somerset Maugham’s The Circle humourously clasps the fallout of this – the ripple effect of this a major societal talking point.

Courtesy of Ellie Kurttz

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DNA brings together the countless journeys taken by the generations that came before us in this exciting showcase by Tara Theatre’s first Young Company. The innovative and paid engagement programme consisted of a collaborative process over 12 weeks of workshops, devising, movement, rehearsal and  tech culminating in a sharing on the 19-22 April. The 11 Young Company members are formed of actors and theatremakers aged 18-25 who are based in London but whose backgrounds span the globe, from Albania to Pakistan. It’s refreshing to see a company formed of actors and practitioners from non-traditional drama backgrounds taking ownership of their cultural DNA.

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Receiving a cancer diagnosis is a devastating blow, the outcome of treatment given dependent on when cancer within the body is detected. Up until very recently, research into the diagnosis of cancer within black people had been scarce, the NHS and Cancer Research UK having recently conducted a study including almost 700,000 diagnoses of 6 cancer types – breast, colon, non-small cell lung, ovary, prostate and uterine across five ethnic groups in England from 2012-2016. From this research, it was found that black women from Caribbean and African backgrounds are more likely to be diagnosed with certain types of cancer at later stages – 3 or 4 when treatment is less likely to be successful (Cancer Research UK) and. Zoning in on this seldom talked about topic of how cancer impacts black communities, in this particular  case breast cancer, Naomi Denny confronts this with show Unseen, Unheard.

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Following the iconic all women of colour production of Richard II at the Sam Wanamaker Playhouse directed by Adjoa Andoh and Lynette Linton in 2019, Andoh returns with a paler sequel of sorts – playing a darker, more villainous Richard who’ll kill anyone who gets in his way of becoming the King of England. This time Andoa tackling race from a different angle, drawing from her own experience of growing up as a minority in a quintessentially white English village. Usually played as a hunchback, Andoh reimagines Richard’s referenced deformity and otherness – “Poisonous bunch-backed toad!” – through the prism of race.

Courtesy of Manuel Harlan.

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Easily the best play I’ve seen this year, STARS is orgasmic in that it’s joyous, sensational and you really don’t want it to end. Mojisola Adebayo is giving us queer, working class, postcolonial, feminist afro-futuristic theatre, a genre I didn’t think could exist, but this is what this play is capable of, new frontiers and my goodness is it delightfully radical too. I savoured every second, from the moment I sank into the beanbags at the ICA to the musical interludes directed by Debo Adebayo. You can watch the sibling duo here chatting through their influences growing up and the vision behind creating STARS, “a concept album on stage” born on a night out in Dublin.

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Taken briefly off guard by a surprise announcement from the influential b-boy duo The Legendary Twins AKA Kevin and Keith Smith, Breakin’ Convention founder Jonzi D watches on as both read out the heartfelt statement inscribed on his award given by the New York State Assembly acknowledging his undeniable contribution to the movement of Hip Hop which celebrates 50 years this year. An advocate of Hip Hop culture here in the UK, Jonzi D has been crucial to bringing Hip Hop to our stages and training the thought leaders of tomorrow. Returning yet again with a weekend long celebration of the form, Breakin’ Convention transforms Sadler’s Wells into a forum to connect, share idea and platform new work.

Courtesy of Belinda Lawley.

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Finding that special someone is a great thing, drawn together by shared interests and an unquestionable romantic pull, the start of a relationship can often be of another world – red flags dismissed, everything seemingly well with the world at the time – until time seeps in and realities hit home. Examining this further in her VAULT Origins Award 2023 nominated show, Rhiannon Neads presents Supernova, a look at how a couple of cosplayers, in love with space collide and navigate their newly found connection.

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Moving on from the lingering spectre of trauma often is an incredibly difficult process to undertake, for some, moving on proving to be too much. Painful revelations about someone you thought you knew resulting in devastating effects. Fearless in her observation of how a resilient, unapologetic family of women take on the world post the passing of an abusive patriarchal presence, Clean Break and Deborah Bruce presents Dixon and Daughters.

Courtesy of Helen Murray.

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