REVIEWS

Based upon the witches of Macbeth, Mother, Maiden and Crone retells this classic tale in the setting of Club Limbo (or should I say Limbo Bar and Kitchen) — a gay bar in which the witches work. Mother (Lewis Gemmell) is the bar’s only drag queen, Maiden (Ewan Burns) is the signature messy twink bartender, and Crone (Fin Watt) is the feral, nonconformist DJ. Together they face the horror that is a straight hen-do, who have booked into Limbo for the night. With gay-adjacent bridesmaid Brandi (Zara Kennedy) having booked the venue, the rest of the gaggle aren’t best pleased, so Mother, Maiden, and Crone have a little fun stirring the pot, leading to McBride’s (Erin McGivern) demise. Ewan Burns’ writing makes for a hilarious evening, with dialogue from Macbeth being campified and modern...

‘Youth in Flames’ is outstanding, a life-enhancing show full of theatrical magic. It’s beautifully written, pulsates with energy, is brilliantly performed and directed, and is enhanced by a highly skilled creative team. A sublime production. The play focusses on the protests which started in March 2019 in response to the Hong Kong Government’s proposal to allow criminal suspects to be extradited to mainland China. This outraged many in Hong Kong who feared that China would gain more influence and control, and that basic democratic rights would be eroded. Activists and journalists were particularly worried that they would be targeted. Hong Kong is a former British colony which was given back to China in 1997. The extradition bill was seen by many as a breach of the ‘Basic Law’ (agreed...

This show masterfully blends a dark, dystopian setting with grounded comedy and cutting drama, creating a powerful commentary on modern Britain and its uncertain future, performed by a minimalist three-actor cast. Written by and starring the talented Briony Martha and Zach Reay-Barry, the two bring layers of comedic authenticity and a raw emotional honesty to the stage. Lily and Gareth, the only characters visually present throughout the show, appear to be a happy and content couple at first. However, The Parental Act Law forces them on a journey that makes them question every aspect of themselves and their relationship. This unravelling of their psyche and dynamics is the driving force of what’s so great and intimate about this performance. You really grow a closeness for the pair,...

Bluegrass, courtroom drama, and Victorian murder meet in a sharp, witty retelling of the Lizzie Borden’s story. “Myth always makes for a good story.” Quite right. We get the back and forth on whether we’re here for drama or history, and before you know it, they’re breaking the fourth wall to bicker about the whole thing. At one point, an exasperated “Come on, this is GCSE drama level!” gets lobbed into the audience. It’s all very knowing, very winky, and the crowd laps it up. The set up is straightforward, Lizzie Borden, accused of axing her father and stepmother in 1892, faces us, the jury. It’s clear in this telling that she cannot stand her stepmother. Old Yankee stock, dripping in mill money, she hardly needs the inheritance, which makes the whole “why would she?” question al...