10 questions for 10 years – Nastazja Somers

A self-described “European theatre maker infesting British theatre”,  Nastazja Somers pauses the patriarchy-toppling for just long enough to answer Ten Questions for Ten Years 

10 of my top moments in a theatre in 2018

Flashes of excellence can be found in the midst of any production so this list celebrates some of those breath-taking and/or memorable moments that really made theatregoing enjoyably fun this year.

For reference, here’s my 2017 list2016 list2015 list and 2014 list.

Being your hero!

No word of a lie, my happiest memory from inside a theatre has to be Knights of the Rose. Nothing about the overblown opening night (including real roses on the seat) prepared us for the moment someone broke out into Enrique Iglesias’ ‘Hero’ in what had been heavily trailed as a rock musical. Kudos to the cast for continuing valiantly on, and thanks for the entertainment.Continue reading “10 of my top moments in a theatre in 2018”

Review: I Have A Mouth And I Will Scream, VAULT Festival

“We don’t need a book, what we need is action”

The publicity for Abi Zakarian’s I Have A Mouth And I Will Scream puts it better than I ever could – it’s “a play-performance-art-protest-thing.” With one of the funniest lines I’ve heard in a theatre this year, involving Sean Bean. Directed by Rafaella Marcus, the show has all the raw energy of devised work but also carries with it the weight of something much more deeply considered.

I Have A Mouth… is an attempt to “address every single feminist issue in the space of sixty minutes” and does so, with its company of six, in a mightily anarchic manner. These are women who are just as likely to spit in a mirror, throw a tampon at you and bite the head off a wedding bouquet than sit quietly in the corner and put up with the patriarchy any longer and fuck knows, they’ve got every right to be angry. Continue reading “Review: I Have A Mouth And I Will Scream, VAULT Festival”

Review: PLAY – The Subterranean Season, VAULT Festival

“We’re gonna Jean Valjean the shit out of this”

PLAY – The Subterranean Season takes in plays 23-26 in their ever-growing programme of short plays, devised in just two weeks by a collaboration of writers, directors and actors up for the challenge of creating something sparklingly, spankingly, brand new and fresh. I saw PLAY Theatre Theatre Company for the first time at the VAULT Festival last year and fell for them hard, as is evident from the pull quote they’ve opted to use on their publicity this year (one for my scrapbook!). 

As ever, the four PLAYs cover a wide range of themes and styles, from the deceptively whimsical to the psychologically acute, sometimes within the same 15 minutes. For me, Aisha Zia’s 24 and Miriam Battye’s 26 achieved this balance perfectly, the former (directed by Holly Race-Roughan) mixing hipsterish shenanigans with guitars and cardboard boxes with a darkening look at the desperation of flat-hunting in South London. And the latter’s portrayal of an intense friendship was breath-takingly good, Matt Harrison teasing some sensational work from Emily Stott and Jessica Clark. Continue reading “Review: PLAY – The Subterranean Season, VAULT Festival”

Review: Midsummer Mischief B, The Other Place

Asked to respond to the provocation “well behaved women seldom make history”, 4 writers have produced 4 plays, Programme B of the RSC’s Midsummer Mischief contains the plays I Can Hear You by EV Crowe and This Is Not An Exit by Abi Zakarian and as with Programme A, I am expressing myself through the medium of Rupaul’s Drag Race (gifs courtesy of  Fuck Yeah Drag Race) – mischief indeed.
Once again, the seating. It may well leave you like this.

And though I’m onside with the feminists, I have to say this double bill left me disappointed.

Some may not be surprised I didn’t like Crowe’s piece (we do have history…) but though it may seem I am…
…I do try to remain open-minded, honestly. This “naturalistic supernatural” story achieves little though.
And Zakarian, a writer with whom I was previously unfamiliar, also failed to make much real impact.
So whilst I wouldn’t want to be accused of being too harsh…
…there’s no doubt that out of the pair of them, Programme B needs to sashay away.
Running time: 1 hours 50 minutes (with interval)
Booking until 12th July and then playing the Royal Court 15th-17thJuly