Inua Ellams strikes again with his signature rhythmic flare and sharp analytical eye. The Half God Of Rainfall merges Greek and Yoruba mythology in a humorous but poignant 80 minute piece that explores, masculinity, sexual violence and colonialism.
The one-woman Funeral Flowers follows a 17 year old Angelique, who is both played and written by Emma Davis Edwards. With a mother in prison, a father out of the picture and a wolf in sheep’s clothing for a boyfriend, Angelique has some hefty odds to overcome to pursue her dreams in floristry. Directed by Rachel Nwokoro, the plot begins on a positive note. Edwards performs in a colloquial manner, laid back she chats with the audience as if they have popped over for a cup of tea and a catch-up. But with the fourth wall broken, Angelique begins to let us in, and with it we discover her harrowing experience.
Avalanche: A Love Story is a truly heartbreaking adaptation of Julia Leigh’s memoir. Directed by Anne-Louise Sarks, the one-woman play starring Maxine Peake details the emotionally charged journey of Julia battling all odds in an attempt to become pregnant. The single act play whips through its 90 minute run time with an engrossing narration of events that delves into, love, loss and an eye-opening commentary on IVF and its financial underbelly.
Courtesy of The Other Richard.
©The Other Richard
Currently deliberating over this year’s Network of Independent Critics cohort, independent critics Jo Trainor and Daniel Perks know all too well just how beneficial the experience can be for content creators looking to pursue a career within arts journalism. The world’s largest arts festival, Edinburgh Festival Fringe attracts the best globally and just under 3 million arts goers. With so much going on, covering as much as possible can prove difficult; however creating the opportunity for independent critics to cover different genres of performance helps to diversify the arts journalism landscape. This is the Network of Independent Critic’s aim, to offer opportunity to underrepresented writers. Both Jo and Daniel have now taken over from co-founders Laura Kressly and Katharine Kavanagh to organise this year’s experience; they both talk to us about the introduction of well being sessions for this year’s participants.
Father is a one-woman show by Francesca Bartellini, outlining her personal experience of abuse from her father as a young girl. Shows of this calibre are of increasing importance in the ‘Me Too’ era, and I am so glad that Bartellini has found a platform to express the atrocities committed against her.
Debuting a scratch performance of The Brownie Club at Watford Palace Theatre three years ago, Circus Performer and theatre maker Jessica Andrade would go on to develop a full length version of the show at Jacksons Lane Theatre. A theatre renowned for nurturing circus based work, Jessica’s pertinent show explores the topic of racism, something the performer has found she still, as well as many of us, confront today. Formed as a way to create a safe space from ignorant comments made by teachers and fellow students whilst at school; The Brownie Club was a friendship circle giving a voice to the marginalised and ignored. Ahead of the show in May, Jessica tells us more about the show’s creative process.
Cora Bissett’s Fringe smash-hit What Girls Are Made Of has begun its Scottish tour this week with a week’s worth of shows at Tramway. This gig-style show tells the story of Bissett’s five minutes of fame back in the 90s, touring with the likes of Radiohead and Blur all before she had even turned 20. While the title shouts feminist anthem, the summary sounds a little indulgent to me. But, I could not have been more wrong. What Girls Are Made Of is an electric celebration of womanhood in an era when we have more opportunity, and inspiration, than ever.
Lynette Wallworth’s emmy-award winning documentary: Collisions, offers an incredibly immersive and awe-inducing experience. Armed with a VR headset and headphones, the audience are plunged into the Australian outback with the freedom of pivoting a full 360 degrees soaking up the beautiful landscape. We follow Nyarri Nyarri Morgan, member of ancient Martu Tribe and we hear his story of how ‘nature and science fatefully collided’.
Courtesy of Piers Mussared.
Enda Walsh’s Rooms captures five voices narrating five separate stories, being told in a manner and environment that absorbs the small groups of audience into their world, their perspective and their loneliness.
Courtesy of Andrew Downes.
Henry Filloux-Bennett has seamlessly reworked Nigel Slater’s popular autobiography for the stage, Toast. A charming, endearing, yet equally sorrowful tale of a young boy growing up with a developing passion for all things food in 1960s suburban England. Giles Cooper’s Nigel first exhibits a devotion for cookery in his mother’s kitchen. His childhood excitement fills the auditorium, enthusiastically narrating as he bakes wonderfully British jam tarts. He learns eagerly at his mother’s side (Lizzie Muncey); content in his own homebaked edition of paradise. Sadly, in his culinary quest, life does not remain in this gleeful and happy state. Instead, it is replaced by confusion, anger and melancholy in the touching true story of Nigel Slater.
