REVIEW: Bacon at the Finborough Theatre

Entering the compact space of the Finborough Theatre, it is difficult to imagine how such a small space can create something so slick yet somehow epic. ‘Bacon’ is a play that somehow straddles between naturalism and breathtaking heightened realism within a matter of lines. With a running time of seventy-five minutes, I don’t think I took a breath the whole time.

‘Bacon’ explores the relationship between Mark and Darren. Two teenagers at school in Brentford. They’re completely different people but somehow have a connection which is just as dangerous as it is joyful. Each of them talk to the audience throughout, but at its heart it is Mark who is telling us his story. A story rich in trauma, shame and failed dreams. It all sounds very bleak, but the characters are littered with hilarious idiosyncrasies and phrases which gives it a real pace. Mark is almost like a more interesting version of Will from ‘The Inbetweeners’. He has hilarious one-liners about the love for his dog Barney and distrust for bullies and detention. Darren is the damaged teen who wears his heart in his fists, but every now again shows a burst of vulnerability.2

REVIEW: An Evening Without Kate Bush at the Soho Theatre

As I descended the stairs of the bustling Soho Theatre I had no idea what I was letting myself in for. I knew that I already liked Kate Bush- but I had no clue how a ‘tribute act’ style show could play such homage to our favourite Celtic Queen.   

Seasoned cabaret performer- Sarah-Louise Young- is the perfect blend of eccentric and compassionate. I get terrified whenever I smell a whiff of audience interaction, but Young does it with such care for the audience members and genuine desire to connect that you can’t help but put aside insecurities and let her take you on a rambunctious journey of self-discovery and mayhem.

REVIEW: Small Change at Omnibus Theatre

As a Peter Gill and Omnibus first-timer, I was really looking forward to my trip to see ‘Small Change’. The Omnibus is a lovely little theatre, situated a close walk from Clapham Common. The set, designed by Liam Bunster, was a highlight of the evening for me. With the seating arranged in thrust, the white stage allowed us to be transported to various locations with the aid of large, industrial-looking rectangle boxes. With the piece being based on the east side of Cardiff, near the docks, it gave you a clear sense of location.

Being written and staged at the Royal Court in 1976, the writing still maintains a modern pragmatism and manages to simultaneously get to the point very quickly whilst also skating around the bigger questions. We explore themes of time, class and gender roles to name a few.

REVIEW: The Language of Kindness at the Shoreditch Town Hall

Based on the critically acclaimed book by Christie Watson- ‘The Language of Kindness’ is a dance theatre piece that examines the underbelly of life on the ward. Made up of an ensemble of six talented actors, were guided through a cross-section of NHS experiences. We meet nurses on their first day at work and more experienced nurses visiting patients homes. We meet young patients with brain tumours and older patients on chemotherapy. A broad range of characters, which the cast pull off well.

I must admit, before heading to the glorious Shoreditch Town Hall venue I was skeptical. I didn’t know whether I wanted to experience a piece that would still feel so raw in the context of an ongoing pandemic. But one could argue that this is the exact reason why the show needs to be experienced at this time. It shines a light on those who’ve kept so many alive this year. A character in the piece discusses the effect of these traumatic experiences for the nurses and asks ‘What’s the cost?’ What happens to a nurse after a tube carrying blood is cut open and splatters all over the wall? What happens when you watch a patient unexpectedly die from a heart attack? They joke about the lack of aftercare and respect from those higher up. With the recent debate over the one percent pay rise for NHS staff, this line of questioning does feel particularly poignant.

REVIEW: Cruise at the Duchess Theatre

When walking into the auditorium of the duchess the air felt somewhat electric. Audience members buzzed and hummed with palpable excitement. Theatre is back! And what a return... 

It is somewhat misleading to label ‘Cruise’ a one-man play. Jack Holden plays countless, hilariously specific and nuanced characters throughout the ninety-minute rollercoaster which are so well rounded, you often forget there’s only one actor on stage. What I particularly enjoyed about the piece was that it was written from the perspective of Holden, at age twenty-two working for the LGBTQ+ hotline- switchboard. Early on he tells his co-worker- Kevin- that sometimes he feels like he was born in the wrong era. That he should’ve been born in the eighties. A pale-faced Kevin responds with ‘you don’t’. This perspective places us immediately in the now, veering away from a more conventional, period approach to the HIV/ AIDS crisis. 

After a heavy night out and cocaine comedown, Jack is alone in the office after his colleagues fail to show up. He picks up the phone to Michael, and thus our story begins. Michael guides Jack through his exploits in Soho. We meet larger than life characters who give us an insight into the vibrant and grotty underworld of the gay scene in Soho. A personal shoutout goes to Polari Gregory who reminds Michael to just take it ‘one step at a time’ when he is struggling to deal with the loss of a loved one. It’s a beautifully still moment within the show, which you feel like Holden really earns after throwing himself around the stage for the past hour.