Ballet Revolución - review

Written By: Anna Jones (@Now4567Anna)

Sadler's Wells, London
****

Ballet Revolución is described as dance theatre in the programme forward from Lise Smith, but it's not really dance theatre; it's a dance bonanza demonstrating all that these exceptionally talented Cuban dancers can do. A fusion of ballet, contemporary, hip hop, Samba, and rumba which is linked by the overall theme of sensuality and celebration thereof. The choreography by original Tap Dog dancer Aaron Cash and Roclan Gonzalez Chavez is extremely crowd pleasing and their fusion of classical ballet with hip hop and contemporary causes many a gasp from the audience.

Lysistrata - review

Written by: Andrew Crane (@AndrewRCrane)

Riverside Studios, London

***

It’s every serious theatergoer’s nightmare; turning up to the theatre only to find that you’re sharing the experience with a gaggle of giddy GCSE Drama students. Fortunately this particular group seemed well trained in theatre etiquette and they were perfectly amicable throughout the performance – well done to whichever school they were from. As much dread as they instilled it quickly became evident that they were the target audience for Theatre Lab’s musical and modernised adaptation of Lysistrata, an entertaining and raunchy affair that opts out of substance in favour of low-brow comedy. 

Making Dickie Happy - review

Written by: Jessica Lorimer (@JessLorimer3)

Tristan Bates Theatre, London
***

Plenty of long stemmed cigarettes, bourbon on the rocks and bed-hopping contribute to a world of 1920’s glamour for Jeremy Kingston’s Making Dickie Happy. A tentative exploration into the meeting of Agatha Christie (Helen Duff) and Noel Coward (Phineas Pett) on the cusp of their subsequent stardom awaits avid fans of both authors.

Dracula - review

Written by: Tom Woods (@Thomas_E_Woods)

Where did Woods watch it?
Fairfield Halls, Croydon
Was Woods won over?
**

Vampires have become something of a hot topic in recent years, and with the tagline ‘The Original Twilight’, Ninon Jerome’s production of Dracula sounds keen to put all these new vampires in their place by bringing Bram Stoker’s original bloodsucker to a modern day audience. Sadly, any clever exploration of themes, and how they relate to the 21st century, is lost in the confusing direction and a myriad of poor design decisions.

Black Pudding - review

Written by: Kirstie Ralph (@kjralph)

The Bussey Building, London

****

The first night of Wind-Up Collective’s quirky cabaret Black Pudding is a triumph, striking the right balance between the entertaining, thought-provoking and simply bizarre. The company succeed in bringing to life the fairy tale stories of childhood, with an extra helping of silly audience interactions and melodrama. References range from Made in Chelsea-type shows to general pop culture, to add some 21^st Century spice to stories we think we know. The Bussey building café, located in Peckham Rye, is a gem of a location for this show, providing the informal atmosphere needed to stage a performance of this nature.

Mydidae - review

Written by: Peeny (@AdamPeeny)

Where's Peen been?
Trafalgar Studios, London
Was Peen keen?
*****

There must be something in the water at Trafalgar Studios – that’s right, the actual, flowing water that they use in this production – to help make it so damn brilliant. It’s a good job it is so fantastic, to make all of the plumbing work worthwhile.

Purple Heart - review

Written by: Anna Jones (@Now4567Anna)

Gate Theatre, London

*****

Bruce Norris is a master manipulator of language; his play Clybourne Park won every drama prize available to it (including a Tony, Olivier and the Pulitzer Prize), and Purple Heart exhibits once again his deftness and skill. Superb performances from Nathan Kiley (Thor), Rosemary Prinz (Grace), Christopher Evan Welch (Purdy) and Laurie Metcalf (Carla) bring to life this twisted, traumatic tale of mishandled and misplaced love. All set against the oppressive backdrop of 1970’s Vietnam disillusionment and domesticity.  

Laburnum Grove - review

Written by: Christianna Mason (@Christianna_L_M)

Finborough Theatre, London

***

A comedy so mellow that, were it not for the second half, the audience would be lulled into a chuckling doze; this play is a perfect jibe at the sleepy, comfortable middle classes of 1930’s north London.

Facts - review

Written by Andrew Crane (@AndrewRCrane)

Finborough Theatre, London

*****

An Israeli, a Palestinian, and a Jew walk into an interrogation room… whilst potentially being the set up for a rather non-PC joke, it also forms the basis of Canadian playwright Arthur-Milner’s politically charged UK debut. And what a debut; Facts is as nerve-racking as they come, blending a highly intelligent script with a tension that grips like a vice, it’s both exhilarating and poignant.

Dorothy in Oz - review

Written by: Rachel Hopping (@roadtorach)

Where did Hop pop?
Waterloo East Theatre, London
Was it top for Hop?
***

Immersion Theatre’s raucous, hilarious take on James Michael Shoberg’s update of The Wizard of Oz traps our bipolar heroine Dottie (tortured by the otherworldly barks of her dog Toto), in the Ozlin Mental Health Facility.  Subject to illicit experimentation, betrayal, sexual harassment and administrative frustration, she confronts enemies and makes lifelong friends in her quest to find her way home. There’s flashing lights, pounding rock music and much screaming and fighting in this stuffed-to-bursting production, which is in parts hilarious, heartfelt, and totally unnerving.

Losing the Plot - review

Written by: Naomi Lawson (@NaomiMLawson)

Fairfield Halls, Croydon 
***

In 1993 John Godber was reportedly the third most performed playwright after Alan Ayckbourn and William Shakespeare. But in 2013, where a whole host of new British playwrights have made their mark in the twenty years since then, does Losing the Plot (the fourth play written for the John Godber Company) still make a mark?

Trelawny of the Wells - review

Written by: Christianna Mason (@Christianna_L_M)

Donmar Warehouse, London
*****

“Well…it’s not exactly A Chorus Line” one audience member shrewdly points out during the interval.  It certainly isn’t and it’s all the better for it. Witty, stylish and clever; this play is about theatre people, for theatre people.

Hot Property - review

Written by: Dombo (@DomOJFryer)

Where's Dom gone?
Etcetera Theatre, London
Was Dom fond?
***

It's difficult to gauge exactly what about this piece is so interesting. Is it the narrative? Is it the acting? Is it the fact that the set cost maybe £4 maximum? That’s not a bad thing; Dragon's Den would have a field day.

Kiss Me, Kate - review

Written by: Wendy Haines (@Wendyfer1)

Old Vic Theatre, London

****

Kate doesn’t want to be kissed, but things just aren’t that simple. Trevor Nunn has achieved a winning, albeit comfortable staging of Cole Porter’s meta-musical Kiss Me Kate: a hectic, jazzy escapade following the leads in a Taming of The Shrew musical both on and off stage.

A Chorus Line - review

Written by: Peeny (@AdamPeeny)

Where's Peen been?
Palladium, London
Was Peen keen?
****

A Chorus Line is 120 minutes of musical theatre celebrating itself, purely demonstrating the glitz of performing on a big stage, but the hard graft that comes in equal measure. This is a major revival of a groundbreaking American musical suitably timed to pay a great tribute to the multi award-winning composer, Marvin Hamilisch, who unexpectedly passed in August 2012.

Kinky - review

Written by: Elodie Vidal (@ElodieVidal)

Ovalhouse, London
*****

A show about kink. You probably have a mental picture of what such a production might be like, but the good thing is, Clare Shucksmith, creator of Kinky, knows you do. She also has a pretty good idea of which images your imagination is likely to conjure up. Flanked by creative and performing partner Zoe Hinks, she constructs a delightful piece that, in its raunchy affair with performance art, confronts all the expectations and stereotypes standing in her way.

Your Place Or Mine - review

Written by Daisy Thurston-Gent (@daisytgpoetry)

Ovalhouse Theatre, London

**

Your Place Or Mine is the latest project undertaken by Tim Redfern and David Sheppeard that takes place in the Café Gallery of the Ovalhouse Theatre. The short piece explores the difficulties that two colleagues face when attempting to downsize an archive, discussing what makes a history worth saving.

Girls! Girls! Girls! - review

Written by: Jess Nesling (@JessNes1)

The Pheasantry, London

**

Babette’s Feast, the quartet composed of vocalists Emma Ruth, Verona Chard, Tamsyn Salter and Sophie Burnham, took to the small stage of The Pheasantry for a performance advertised as a “delicious musical double bill”. The repertoire took the audience on a tour through the ages, from Glenn Miller to Paloma Faith; but something was lacking.

Bottleneck - review

Written By: Lily Grouse (@LilyKG)

Soho Theatre, London

*****

This is one of those occasions in which I was genuinely blown away. Bottleneck is a powerful script, and its realisation on stage is just as strong. Playwright Luke Barnes captures the 1989 Hillsborough disaster with a sensitive and personal approach, his piece bursting in equal measure with moments of trauma and comedy. I urge you not to pass up the opportunity to see it. 

Bitch Boxer - review

Written by: Anna Jones (@Now4567Anna)

Soho Theatre, London
****

Charlotte Josephine has crafted, and is now delivering, a genuinely excellent piece of theatre, which incorporates all the rhythms and pace of a boxing match into an hour and a half monologue. Her words jab and fall back, daze you, knock you down only to lift you back up again with a funny observation. It is the touching story of Chloe, an amateur boxer looking for Olympic glory whilst coming to terms with a family tragedy.