Dead Mom Play, TheSpace at Niddry Street.
Ben Blais’ Dead Mom Play takes two themes and weaves them together with bravery and unexpected hilarity. How do you cope with the memories of your recently departed mother – those feelings of grief, resentment, guilt and self-absorption? And how do you write a play that does justice to those feelings – and to the memory of the woman who was not only your mum but so much more? And how do we all cope with Death being an ever-looming presence in our lives? There are, of course, no real answers to those questions, but this play is an unexpectedly hilarious and self-deprecating take on one son’s experience. Beautifully and inventively written, and given top performances by Griffyn Bellah as the son in question, Liv Hodder as his hyper-critical mother and Joe Bellis as the funniest representation of Death I can remember. Very revealing, very different and hugely entertaining – not what one might expect from the title. Well worth getting up early for!
The Shroud Maker, Pleasance Dome.
The extraordinary story of Saoud, orphaned as a girl, who learns the art of sewing, raises a baby boy whom she discovered under a cactus at the age of fourteen; how he grows to be a man, gets married, and has a baby. But her family responsibilities don’t end there, and her tough life continues to take unexpected turns. Hers is the ultimate story of survival; her job as a shroud maker for the dead of Gaza is only a small part of who she is. Julia Tarnoky’s amazing storytelling skills allow us to experience at first hand the incredible events that have come together to form her life. A true tour de force – and a mesmerising performance.
It’s The Economy Stupid, Pleasance Dome.
Everyone knows the phrase It’s the Economy, Stupid, but that easy and glib statement hides a range of personal tragedies and disasters; it’s not just numbers, it’s lives too. Joe Sellman-Leava and Dylan Howells have created a unique combination of economic education and an account of Joe’s family, whose shop hit the buffers in the late 80s recession leading to bankruptcy. In those days, there were provisions in place so that they could be rehoused and eventually rise, phoenix-like, from the proverbial ashes. Today, those safety nets have gone. Presented as a double-act, with Joe as the lead narrator and Dylan there to keep him on the straight and narrow (and also to provide a touch of magic – I sat very close to him and still couldn’t see how he did any of it), this is a salutary tale for the present day and an awkward reminder for anyone affected by previous recessions. Inventively staged with dozens of cardboard boxes concealing a host of surprises, this is a most creative piece of educational theatre.
16 Postcodes, Pleasance Courtyard.
Jessica Regan has lived in 16 postcodes in London ever since she left Ireland. Each has its own particular significance to her, its own memories, its own joys and its own horrors. And as we the audience appreciate her reminiscences of perhaps five or six of those special places, we also remember the postcodes where we have lived, and realise it’s both a curious and useful way of delineating our pasts. Her highlight postcode is Walthamstow, E17; it would have been mine too, having spent a very happy year there as a postgraduate student in the early 1980s. Ms Regan exudes a warm and welcoming presence and has an effortless storytelling style that helps you lose yourself in her words. A charming, almost delicate entertainment.
N. Ormes, Assembly Roxy.
We’re all used to a traditional acrobat act; a staple of the circus and variety show, a troupe of athletic and strong performers perform amazing feats of strength high in the air or carrying the weight of the lighter acrobats. The tables are turned in N.Ormes, where Agathe Bisserier and Adrien Malette-Chenier perform acrobatic exercises par excellence – but not only does Adrien launch Agathe high above him, she also lifts him high above her, and it’s an incredible show of strength from both of them. Both artistic and acrobatically impressive, this is an act quite unlike any other you’ll see!
Jack Goes to Therapy: A (Somewhat) Romantic Comedy, Zoo Playground.
Jack has split up from Carter – and, try as he might, he’s not taking it well. Especially as Carter has now partnered up with Alexander, with whom he and Carter had a threesome not long ago. It’s hard not to take that kind of thing personally. A chance remark from an STI nurse that maybe he should try therapy sends Jack into the capable psychiatric help of Dr Harold; and he makes a promising start. Supported by best friend Macy, colleague Patricia, flatmate Derek, and even one of his kindergarten children, Gina, can Jack put aside his past issues and move forwards? Zac Williams gives an honest, tender and extremely funny performance as Jack in this delightfully positive and kind play which, for all Jack’s problems, makes the audience feel like they’ve just bathed in goodness. Great work!
The Gentleman of Shalott, TheSpace on The Mile.
They say if you’re going to do a cover version of a song, make it different and make it your own, don’t just copy the original. Here’s a cover version of The Lady of Shalott – not just the famous painting, but also the poem by Tennyson; she spins in her tower and will be cursed if she look down to Camelot. Therefore she can only look at the shadows in her mirror, which reveals characters such as the shepherd and the page. But when Sir Lancelot rides by the temptation is too great and she takes to a boat which will float her down to Camelot – and her ultimate downfall. Gareth Watkins has turned this story on its head and performs as The Gentleman of Shalott, also trapped in a tower, weaving on his loom, connected to the outside world by his periscope that acts as the mirror, and the sex-line link which he uses sometimes to rebuff and sometimes to open up to his gentlemen callers. Mr Watkins has a terrific stage presence and a powerful but warm voice which he uses to great effect in his various associations with those other gentlemen. There is something of a coup-de-theatre in the final scene which I won’t spoil for you but remains in perfect keeping with Tennyson’s original. A very creative and inventive treatment of a much-loved 19th century poem brought bang up to date. Perplexing yet invigorating, a rewarding theatrical achievement!
Alexandra Haddow: Third Party, Monkey Barrel Comedy 2.
Alexandra Haddow’s new show is entitled Third Party; in her quest to find an alternative for the Great British voting public, she has founded a third party for you to elect (other than those rather obvious main two). It’s not got a bad manifesto; in real life you might well be tempted. But the show is about much more than that, as we hear all about the attempts she and her boyfriend make to have a slightly less vanilla sex life. Ms Haddow is a truly slick comedian with constantly funny and creative material, delivered with all the confidence of Eric Cantona taking a penalty. Not to be missed!
