REVIEW: Hiding Heidi at Etcetera Theatre

After 23rd June 2016, many have been wondering about the future of all EU citizens currently residing in the UK. Especially those, like me, who come from Europe and can no longer ignore the incertitude of a future in Britain. Some have already planned to return to their home countries, but many are reluctant to do so, as their entire life is now in the UK.

Playwright and director Ian Dixon Potter explores this issue from a dystopic and near-apocalyptic perspective, depicting a heavily-policed country where drastic measures are taken to prevent the presence of illegal European workers. 

Mid-age engineer Ralph (Richard De Lisle) and his elderly mother Dorothy (Maxine Howard) are looking for a carer, which seems to be an impossible task now that all jobs must be carried out by British people. They end up illegally hiring Heidi (Siobhan Ward), a nurse from an unspecified European country. The woman has been living in Stoke on Trent for nearly five years, before losing her job in a hospital, as a result of the changes in the employment law. She is unwilling to go back to her country, as she admits that all her friends and future plans are based in England, and she's willing to accept an underpaid and potentially risky job rather than leaving.

REVIEW: The Very Perry Show at The Hen & Chickens Theatre

Some people collect coins or stamps, some others, like me, collect banana stickers. Katy Perry collects people and, during The Very Perry Show, revives some of these people in a lively stand-up comedy. From the moment she steps on stage as herself, talking directly to the audience, I can tell she's a fringe veteran, cheerful and confidently addressing her intimate crowd.

Her 60-minute show is a jewel box of different human instances, with fully-fleshed characters aged 6 to 75. First on stage is Carmel, a pensioner from Northern Ireland obsessed with Ken Barlow from Coronation Street. She secretly hates her best friend and is remarkably well informed on the lives of other villagers.

When Perry re-emerges from the sketch, she finds a little red diary in her pocket, belonging to 12-year-old Susy. She's been ejected from boarding school for wiping out the chemistry lab and returns home to find her mother comatose with a cocktail of antidepressants and amphetamines. Fascinated by her state of stupor, she decides to produce a documentary for BBC called 'Mummy on the Brink', which causes havoc amongst the spectators.

REVIEW: The Red Lion at Trafalgar Studios

Stephen Tompkinson is the devious club manager Kidd in Patrick Marber's changing-room tragicomedy The Red Lion. His fiery first appearance on stage resounds like an air horn, whilst he rants about the pitch falling in to disrepair and the volunteer staff lacking enthusiasm. For a solid ten minutes, the Trafalgar Studio 2 is raptured by his northern coarse vernacular and the audience is visibly in stitches.

Facing a close-up on his fit of rage – and trying to talk reason into him – is his subordinate Yates (John Bowler), once a dauntless fullback and now in charge of the kits. Placidly ironing the shirts, he delivers pearls of wisdom, expressing an empathy that seems to be a foreign concept to his boss. Seeing the game as a noble occurrence that brings the community together, Yates is mocked by the money-thirsty Kidd, whose vision of the football club corresponds to a business transaction, possibly aimed at filling his own pockets.

REVIEW: JOY at Gerry’s at Theatre Royal Stratford East

Joy (Imogen Roberts) wants to have a normal life and enjoy her independence like everyone else. Since she was born, her father John (Danny Scheinmann) and her sister Mary (Rachael Bright) did everything to shelter her from those who could take advantage of her goodwill, but the time to fly the nest is now rightfully approaching. Like other people around her, Joy wants to hang out with her friends, have her own house and get married to her boyfriend Paul (Deen Hallisey), but her family finds it hard to let her go.

In this sweet and inspiring coming of age play written by Stephanie Martin, a young girl with Down's syndrome claims her right to have an adult life, an academic career, a job, read romantic novels and join an art club.

"Disability is a shit word," writes Joy in a letter to her father. "I’m not using it anymore. So, I’ve decided, I am not a pet. I am just me. And I love being me."

REVIEW: STORY JAM, Reel and Unravel: Rough Crossings at Canada Water Culture Space

Storytelling is the most ancient form of performing art, for the innate desire human beings have always had to share personal thoughts and experiences with others. Potentially, storytelling has the same age of human language itself and, even now, it is felt as a highly rewarding form of artistic expression, for its power to create an immediate and unfiltered connection between the performer and their audience. Unfiltered, because in most instances – as in the one I went to see at the Canada Water Culture Space – the effectiveness of the message conveyed doesn't rely on the use of fancy props, makeup, costumes, nor on particularly elaborated audio-visual effects, to make an impact on the spectators. 

Curated by Lucy Lill and Alys Torrance, Story Jam offers a season of events called 'Reel and Unravel', where storytelling and live music intertwine with fascinating results. Protagonist of the one I took part in, was Phil Okwedy, who shared his 'Rough Crossings' episodes with the support of the 30-strong London Shanty Collective. Born in Cardiff to a Welsh mother and Nigerian father, Okwedy took the audience on a long and perilous journey by sea, accompanied by the shanty musical repertoire, which is deeply rooted in the British maritime working-class. Back in the days of merchant sailing vessels, these songs accompanied the tasks of the sailors, providing a rhythm that allowed them to synchronise their input and minimise the effort.

REVIEW: A Nazi Comparison at the Waterloo East Theatre

As someone who's been studying communication techniques for many years, I was initially impressed by the simplicity with which Craft Theatre conveys its political message. Based on Hanns Johst's play Schlageter and comparing contemporary political leaders to Hitler, the company highlights how propaganda relies on the divulgation of distorted information to manipulate public opinion. To corroborate this idea, we're also shown a video clip about Corbyn and the responsibilities of the press in his recent unsuccess during the general election. Another topic that emerges at the beginning of the play, is the Grenfell Tower disaster and the cloud of misinformation around the reasons of the fire and the number of victims. 

Getting caught in a pro-truth rally whilst heading to university, main character Clare (Louise Goodfield) meets Craig (Craig Edgely), a self-defined 'white hero' and a civil rights activist. Smitten with him and inspired by his socio-political views, Clare gives an academic presentation, where she announces her retirement from a course in Public Relations to embrace the fight for social justice. Focusing on the dynamics of American propaganda since the end of World War II, Clare makes a list of the country's political manoeuvres which have been supported by worldwide communication campaigns, despite breeching diplomatic agreements and disregarding basic human rights. 

REVIEW: You Forgot the Mince at Courtyard Theatre

Rose (Francesca Joy) lives in Leeds with her grandmother Lily (Ursula Mohan) and, fresh out of college, has exciting plans for the future. After the summer, she wants to move to London and go to university to become a journalist but, during the school break, she meets Nico (Prince Plockey), a door-to-door window seller who works on commission, and falls madly in love with him.

The bond between them appears immediately intense, as we see them snuggling and play-fighting in Rose's living room. With a combination of spoken word and physical performance we're projected fast forward into Rose's first year in London, when her academic achievements clash with Nico's personal failures. After being arrested, he spends 12 months in prison, whereas Rose struggles to fit her commitments whilst attempting to maintain their relationship.

When Nico is released, the couple decides to move in together, but the already tormented situation doesn't show any signs of improvement and the young man manifests a disturbed attitude that quickly escalates from verbal to physical abuse. Trapped between Nico's false promises that he'll change and ashamed to share her troubles with her grandma, Rose becomes increasingly withdrawn, eventually developing a severe psychological disorder.

REVIEW: Le Grand Mort at Trafalgar Studios

Like the fragrant pasta alla puttanesca that Michael (Julian Clary) cooks from scratch on stage, Le Grand Mort is a mixture of flavoursome ingredients, whose unbalanced combination could easily result in a stodgy meal. With its graphic elements and piquant frontal nudes, this rich recipe of sex, religion and death might not appeal to the most delicate palates but it does indeed cater for seasoned punters who crave for some zest.

With a relevant change in lighting, the intimate Trafalgar Studio Two alternates between the bar where Michael and Tim (James Nelson-Joyce) first meet and the former's kitchen, where he prepares a delicious dinner for two. Whilst cooking – as if talking to himself – he mentions a series of famous characters whose passing has been enveloped in such a plethora of anecdotes to generate a sort of pornography of death. Marilyn Monroe, Lady Diana and Rasputin are amongst the names mentioned, whilst Christ on the cross is described as a huge phallic symbol. As in this case, the mix is often disturbing and the words inevitably take centre stage in a piece where the action feels manufactured and patchy.

REVIEW: The Test at White Bear Theatre

If I hadn't known some of Ian Dixon Potter's previous works, I'd be tempted to be more critical towards his most recent play The Test. 

His strong interest for the extreme boundaries of science has already featured in Tiresia, in which he mentions the processes used by the human body to store knowledge and memory. Another common factor in his plays is the introduction of big ethical questions, which in Boy Stroke Girl focuses on the relative role of gender identification and in Tiresia on the implications of a brain transplant. The Test, instead, elaborates on the controversial influence of Artificial Intelligence on human dynamics. 

In this short but language-heavy performance, the main character is Dora (Natasha Killam), an ambitious female scientist, author of the first AI system provided with an autonomous consciousness. Contravening the instructions of her direct superior (Zara Banks), Dora decides to submit her device, called Mother, to the Turing test, which aims to establish its ability to respond to stimuli following the same behavioural pattern of a human. To do so, she needs free access to the whole internet and, for this purpose, she hires Josh (Duncan Mason), a computer hacker fresh out from prison.

REVIEW: Grand Finale at Sadler's Wells

Recalling flickering flames or dead leaves in a whirlwind, ten bodies appear on stage immersed in mist, entangled or scattered like a fickle substance. Huge slabs, similar to imposing gravestones, are pushed around, creating different shapes and casting long, menacing shadows on the floor. The pace is relentless and often jars with the eerie melody executed live on stage by the six-strong orchestra. 

In Hofesh Shechter's apocalyptic masterpiece, life and death coexist and are translated into a thundering compound of sound and movement. Putting physical force at the centre of the work, the choreographies are raw, intense and impeccably executed by the diverse ensemble of performers, cherry picked from all over the world.

REVIEW: Dolphins and Sharks at Finborough Theatre

Marking James Anthony Tyler's professional debut, Dolphins and Sharks is a play about power conflicts between colleagues, set against a background of racial discrimination, pay inequality and ruthless capitalism.

We are in a copy shop in Harlem, New York, where African American Isabel (Shyko Ammos) and Dominican descendant Xiomara (Rachel Handshaw) have been working together for many years, becoming good friends and allies against the white exploiter company owner Mr. Timmons. When Xiomara is promoted as a shop manager, though, the balances suddenly change, as she dutifully bends to the requests of the absent Mr. Timmons, imposing unreasonable policies to her co-workers. 

With the luring promise of a pay rise, Xiomara gains the connivance of the newly-employed Yusuf (Ammar Duffus), whose current salary is below legal minimum and doesn't even enables him to pay his rent, after a degree in Philosophy has left him jobless.

REVIEW: The Knowledge at Charing Cross Theatre

Originally written as a screenplay by the late Jack Rosenthal, The Knowledge is one of Britain's most beloved films and, in 1980, was also nominated for a Bafta award for the Best Single Play. 

In this adaptation for the stage, the author's vividly human portrayals are perfectly translated by Simon Block and devotedly preserved by Maureen Lipman, as a director and Rosenthal's wife of over thirty years.

Studying for one of the most difficult examinations in the world, four aspiring black cab drivers are followed in their personal and professional struggles, whilst they attempt to obtain the prestigious green badge of the trade. For them, the long preparation for The Knowledge of London becomes a real journey, at the end of which their lives won't come out unscathed. 

REVIEW: ISHQ at Sadler's Wells

'Ishq' is a word commonly used in the Muslim world to express passion and the most intense kind of love. In this case it is the title of the first Anglo Sufi musical, written by Mushfiq Murshed to commemorate the 70th anniversary of Pakistan's independence and celebrate the cultural fusion between this country and Britain.

Inspired to the Panjabi legend of Heer Ranjha, ISHQ narrates the story of a young couple, whose mutual passion is bound to kill them. Considered as the Romeo and Juliet of the East, Heer (Rasheeda Ali) and Ranjha (Ahsan Khan) meet accidentally when the charming boy is disowned by his family because of his insistent dedication to music. 

Immediately falling in love with him, Heer convinces her wealthy father to hire him as a cowherd but the burning romance is uncovered when Heer's jealous uncle Kaido (Adnan Jaffar) reports the pair's affectionate encounters to the maiden's father. Opposed to the match, Heer's father removes the young man from his employment and rushes an arranged marriage between his daughter and another man. 

REVIEW: Doubt, A Parable at Southwark Playhouse

There is a self-referential flavour in Doubt, A Parable, which will let you return home with a puzzled mind.

Sister James is a young teacher at St. Nicholas Church School, in the Bronx, who, after a meeting with the school's principal Sister Aloysius, is deeply affected by the woman's assertiveness and lack of empathy for her pupils. 

Sister Aloysius's unsympathetic attitude extends also to her collaborators and, in particular, towards Father Brendan Flynn's, whose innovative preaching matters and progressive didactic approaches encounter her disapproval.

When Sister James mentions to her superior a one-on-one meeting between Father Flynn and the school's only African-American student, Donald Muller, Sister Aloysius opens a personal investigation on the priest, suspecting him of sexual misconduct. According to Sister James' report, after this private conversation the boy's breath smelled of wine and this fact could either incriminate or exonerate the priest. For Sister Aloysius, in fact, this is the ultimate proof that Father Flynn corrupted the boy, whereas the priest insists that he called a private meeting with Muller after discovering he had drunk some altar wine.

REVIEW: Talk Radio at Old Red Lion Theatre

When Eric Bogosian wrote Talk Radio, thirty years ago, social media wasn't even on the radar, and yet, he managed to give an insight into a reality that, nowadays, we're all very familiar with. 

Hosting a show where random people can call to express their opinions, Barry Champlain (Matthew Jure) is the king of WTLK radio. His Cleveland-based program is about to go national and, because of its popularity, it inevitably attracts all sorts of time-wasters. Countless men and women phone in every night to discuss their views on society, politics, environment and many other issues that they feel strongly about. 

Downing bottles of whisky and snorting cocaine from his desk, Barry handles these conversations with heartless arrogance, often cutting them off after seconds for their supposed narrow-minded or unoriginal views. Hot topics from the 80s, like pollution, animal rights, AIDS, African underdevelopment, antisemitism, abortion, nuclear arming and disability get thrown into this mixed bag and quickly slayed by the high-strung host, who seems more inclined to discuss baseball scores and listen to the sound of his own voice. 

REVIEW: Loot at the Park Theatre

When Loot made its debut, in 1965 at the Cambridge Arts Theatre, there were many walkouts and a general sense of indignation towards the themes touched by Joe Horton's barefaced play. With the narrow-mindedness of religion, corruption within the police department and a general disrespect for the dead, Joe Orton had depicted a world of bigots, crooks and gold-diggers which can still spark outrage to this day but, in reality, isn't too dissimilar from the world we live in.

Being gay himself, the author didn't shy away from this topic neither, despite homosexuality being still illegal at the time the play was first staged. For its exhilarating comedy and well-balanced composition, Loot was later named by the National Theatre as one of the “100 Plays of the Century”, although Orton didn't live long enough to receive the honours for his prolific but short career as a playwright.

EDINBURGH FRINGE REVIEW: How to Suffer Better at Laughing Horse at The Newsroom

One of the most exciting features of the Edinburgh Fringe is the great selection of free shows offered by the Laughing Horse festival. Often in bars, pubs and makeshift venues, these events involve hundreds of performers, who work exclusively on tips and are, most reasonably, prepared to bully you into putting a fiver inside their hats. 

Because of all the mayhem generally undergoing in Edinburgh during the whole month of August, you might find yourself attending one of these open shows with just a handful of other punters, as was my case when I went to see Amanda Erin Miller's solo comedy How to Suffer Better. 

In these circumstances, an artist should be particularly aware of the different impact that their voice and stage presence can have on their – arguably sober but most realistically hungover – 1pm audience, and hopefully adjust their levels of enthusiasm accordingly.

EDINBURGH FRINGE REVIEW: Transmission at the Assembly George Square Studios

Carrying the deceptive promise of an immersive theatrical experience, Transmission could be one of the most criticised pieces of new writing at the Edinburgh Festival Fringe 2017. Canadian company Toasterlab's ambitious project includes live installations, 16 podcast episodes and 29 augmented reality scenes set in various locations around Edinburgh.

Upon arrival at the Assembly George Square Studio Five, the audience is repeatedly invited to download an app, which can only function with Apple devices. The alternative intercache version for Android is wobbly and relies on the audience's willingness to use a good chunk of their phone's data allowance.

Time economy is also a precious factor during a festival that offers more than 3500 different shows and, for someone who spends just a week in Edinburgh, there isn't enough time for all the features proposed. Contacting the ticket holders in advance and suggesting them to become familiar with the extras beforehand, would give them a better chance to make the most of the elaborate virtual background.

EDINBURGH FRINGE REVIEW: Penthouse at theSpace on Niddry St

Fast-paced, outrageous and addictive, Penthouse is all you need for a fun night out at the theatre. The exceptional acting and the recurrent use of loud rock music will drag you into the last wild night of a London banker on the edge of ruin.

Once considered the City's most promising banker, Ewan has suddenly lost his girlfriend and nearly 1.8 billion pounds of investors' money in illegal trades so, before ending it all, he decides to rent a penthouse and enjoy a booze-fuelled, cocaine-stuffed farewell party. There is a last-minute game-changer represented by Eloise, a hard-headed escort hired for the night, whose methodical approach to business appears like a handhold to the desperate Ewan. Until the very last minute, the audience is left on a cliff-hanger on whether she will manage to turn around his fate.

Playwright and actor Ed Brody, outlines four well-distinct – and mildly stereotypical – characters, brought alive by the outstanding performances of the whole cast. The speech is vivid, blunt and far from being politically correct. 

REVIEW: Olympilads at Theatre N16

Love, financial struggle and mental illness clash in a family drama born by the prolific collaboration between playwright Andrew Maddock and director Niall Phillips. The pair, who received critical acclaim for their previous productions IN/OUT (A Feeling) and HE(ART), confirm with Olympilads a distinctive empathic approach towards real life dilemmas and the impossibility to find an ideal, or even reasonable, solution for them.

It's the summer 2012 in London. The Olympic Games are on TV all day and for the Londoners, the whole life seem to revolve around this sporting event. Darren (Nebiu Samuel) is training hard to beat Usain Bolt in the Men's 100m Finals. Someone said it can't be done but his father used to believe in him and the young boy knows he must run as fast as he can to win. His sister Abigail (Michelle Barwood) has a grudge against him and sees Darren's detachment from reality as a mere act of selfishness. Their brother Simeon (Rhys Yates) has given up on his private life and works hard to support Darren's dreams and reconcile his estranged siblings. Darren is oblivious to Simeon's efforts, Abigail lacks compassion for Darren and Simeon is tired of keeping it all together.