The Limit is a hugely impressive new musical from Freya Smith and Jack Williams at the VAULT Festival
“One spark is all you need”
Ooh, a real treat this. The world of new musical theatre can be a little unforgiving but on the evidence of The Limit, Freya Smith and Jack Williams’ Bottle Cap Theatre are marking themselves as ones to watch out for. Their musical celebrates the unsung life and unheralded achievements of French mathematician Sophie Germain and it does so with real spirit and success.
The DNA of shows like Hamilton and Six are certainly palpable here, in a refreshingly contemporary approach to its historical subject and to be frank, these are fantastic influences to be drawing from. It instantly imbues the relationships and happenings with a relatability that speaks just as much truth (if not more) than any rendition of ‘historical accuracy’ could hope for. Continue reading “Review: The Limit, VAULT Festival”
A gender-swapped Romea and Julian at the Bread and Roses Theatre lacks the specificity to really make you root for these star cross’d lovers
“Ay, the heads of the maids, or their maidenheads.
Take it in what sense thou wilt”
It’s a bold move to open the same show in the same week as the RSC. Erica Whyman’s contemporary Romeo and Juliet is a slick success but Purple Ostrich’s interpretation certainly matches, if not exceeds, it in ambition with its gender-swapped Romea and Julian here at the Bread and Roses tucked away off Clapham High Street.
Directed by Laura Kressly, there’s much to admire in this gender-bending free-wheeling adaptation. An all-female company of three take on all the supporting roles with a fresh and ferocious sense of fun – the performative disinterest of Acushla-Tara Kupe’s mike-wielding Lady Capulet being a real standout, alongside Elham Mayhoub’s Nurse. Continue reading “Review: Romea and Julian, Bread and Roses”