London Archives - Page 23 of 158

Please don’t fall in love with me (it’s really not sexy when that happens) – Hen & Chickens Theatre

22Aug

By Ben PearsonNo Comments

London

Please don’t fall in love with me (it’s really not sexy when that happens) – Hen & Chickens Theatre

Brought to the Camden Fringe by Pinklepause Productions, Please don’t fall in love with me (it’s really not sexy when that happens) is an entertaining comedy that dives into the world of 2007 London’s most famous knicker shop: Knickers Forever. We follow the AGENT, played by the show’s writer Mollie Blue, as she takes us on a roller-coaster of creepy customers, charming clientele, and the constant craziness that comes with her chosen territory. Blue is charming in the role, the perfect host for a show which aims to be ‘silly, shocking, and ever so sexy’. At times, I found her performance a tad over-blown, but this, it turned out, was entirely intentional. We’ll get to that later. Poppy-Anne Taplin plays the AGENT’S hapless but lovable colleague BIMBO. Despite not being given much em...

22Aug

By Caroline WorswickNo Comments

London

Provocateur – The Hope Theatre

Welcome to the world of Letitia Delish (Tish Weinman), a mistress who will certainly put you in your place, and you will love it! But, under the veil of the dominatrix, lies a person who is exploring their gender identity, using the whip as a tool of the trade, and the persona of Letitia Delish to earn money. Written and performed by Tish Weinman, this play aims to strip back the layers of the character Letitia, to find out why she was needed, not just by the men who visit her, but why was she needed by her creator? Supported by her co-performer Alex Chorley, we follow Letitia on her journey of how she became involved in the sex industry. Letitia’s first experience is with a man whose sex-life with his girlfriend is boring, and he wished to explore a part of himself th...

22Aug

By Stewart Who?No Comments

London

A Manchester Anthem – Riverside Studios

A Manchester Anthem opens with Tommy (Tom Claxton) having it large to the 1990 dance classic ‘Anthem’ by N-Joi. He’s in underpants, dancing with the unhinged enthusiasm of a person who has no idea that anybody might be watching. It’s unsexy slapstick, totally relatable and introduces us to a character who’s about to take the audience on a one-man, one-hour trip into a messy night out in Manchester. When N-Joi released Anthem, I was at university in Liverpool and that summer, lived in a crazy rave squat in Hulme, Manchester. If you Google ‘Anthem by N-Joi Quadrant Park’ there’s a one-minute clip of the tune being dropped at the legendary Merseyside club. I was a regular at ‘The Quaddie’ and a loved-up devotee to the Hacienda too, but this show isn’t a misty-eyed flashback to ‘90s Madches...

Scenes with Black Folk – Camden People Theatre

20Aug

By Zain RussellNo Comments

London

Scenes with Black Folk – Camden People Theatre

Scenes with Black Folk sets out with a bold and important premise: to ask, what are the rules of being Black? Who decides, and who enforces them? And what happens when those questions are asked aloud? On paper, it promises to be thought-provoking and powerful, a piece that could explore the complexities, contradictions, and lived realities of Black identity across time. Unfortunately, the production falls short of that promise. While it gestures toward weighty themes, it lacks the substance and cohesion needed to make them resonate. Instead of offering sharp insight or meaningful reflection, the play leans heavily on clever-sounding wordplay and poetic fragments that ultimately feel hollow. Symbolism is suggested but rarely lands with clarity or impact, leaving the audience with mor...

Dragging your Heels – Camden People’s Theatre

20Aug

By Zain RussellNo Comments

London

Dragging your Heels – Camden People’s Theatre

Dragging Your Heels, part of Camden Fringe, is a charming little play about a recently divorced builder, Ben, who dreams of becoming a stand-up comedian. By the end of the show, he manages to face his stage fright by embracing a whole new persona by stepping into drag as a way to perform with confidence. The central message is thoughtful: drag can be many things: a character, a persona, an art form, even a political statement. Here, it becomes a means for someone to follow their dreams and step onto a stage. It’s a touching idea, and the play pays tribute to the transformative power of drag in a warm and accessible way. The production itself is minimal, with a cast of three who keep the story moving through jokes and small musical numbers. There were moments of genuine laughter, ...

18Aug

By Stewart Who?No Comments

London

Foolish – Courtyard Theatre

Foolish by Kate-Lynn Du Plessis looks at the pitfalls and commercial consequences of attempting to navigate a romance under the brutal and often chaotic lens of social media. The couple in question are introduced to us in the opening of the play, when Kiera (Kate-Lynn Du Plessis) invites Xander (Kelvin Ade) back to her flat for the first time. The fumbling, passionate, highly charged energy of this encounter was portrayed with such enthusiasm and skill that it almost felt intrusive to witness. It’s extremely challenging to convey credible sexual attraction on stage. Movies have the advantage of editing, body doubles, prosthetics, CGI and the fact that viewers aren’t actually in the room with the fornicating couple. There’s nowhere to hide on the stage. An audience can feel fakery, r...

17Aug

By Alan Stuart MalinNo Comments

London

Collapse – Riverside Studios

Allison Moore’s ‘Collapse’ takes a familiar domestic setup and detonates it in spectacularly funny fashion. Hannah’s carefully maintained and tightly controlled life, already visibly fraying under the strain of infertility, financial uncertainty, threat of unemployment, and a husband adrift, tips into complete chaos when her rebellious (and hilariously funny) sister arrives with a mysterious package she has agreed to deliver to a guy called “Bulldog”. What follows is a darkly comic unravelling where love, fear, and survival collide. Emma Haines delivers a commanding central turn as Hannah, balancing brittle control with flashes of honest vulnerability. She moves seamlessly between sharp, fast-paced exchanges with her co-performers, and quieter solitary moments that land with unexpected ...

17Aug

By Alan Stuart MalinNo Comments

London

Feminine Rage – Courtyard Theatre

Part of this year’s Camden Fringe, Feminine Rage tackles one of the most urgent and devastating issues in modern Europe: the wave of femicides in Greece. Writer Venice Billia weaves a concept of striking potency, imagining victims of male violence gathering in the afterlife to build a fragile sanctuary for themselves. It is an idea that resonates deeply; these women deserve voice, presence, and dignity, and the framing offers a space to mourn and reflect on a crisis too often pushed aside. The script carries weight, particularly when it edges toward naming and acknowledging the silenced women. Yet, the production struggles to match the gravity of its subject. The set is stark to the point of looking unfinished, reminiscent of a school-level staging rather than a professional platfor...

17Aug

By Eleanor HallNo Comments

London

On the Nose – Courtyard Theatre

‘On the Nose’ is a feel-good flounce between the friendships of two working clowns, Buddy and Dorothy. Directed by Izzy Ponsford, the clown world presented in the play tested our sense of belonging - not without generous helpings of metatheatrical references! With some fruitful audience interactions and echoes of familiar gags, these birthday clowns sprinkled silly all over. That is, until the friendship of this co-working duo is threatened by Buddy’s sudden desire to become an actor. There was an implicit interrogation of queer actors’ exclusion from particular acting roles by the ‘high brows’ of theatre. The career-changing plight gave way to Buddy not being ‘straight enough’ to be an effective understudy for a catapult. Similarly, the strain on the pair’s friendship allowed fo...

16Aug

By Kira DanielsNo Comments

London

Back to the Moon – The Glitch

A sixty-minute fever dream that feels more like babysitting a very hyperactive child than spectating a professional theatrical performance, writer and performer Giovanna Koyama’s incomprehensible antics convince that, in the case of Back to the Moon, comprehension is majorly overrated. She is relentlessly charming and possesses an infectious confidence that lends itself to a script that is quirky more than it is coherent. Selwin Hulme-Teague’s direction is competent and occasionally creative but falls short of the spectacle demanded by Koyama’s writing and writhing. Sensational sound design by Yuri Furtado does a lot of heavy lifting where the story (or lack thereof) occasionally sags. Fortunately, the brevity of the play allows little time for minds to wander, despite the meanderin...