Bachelor infiltrates socialist party to get laid in this Edinburgh Festival Fringe production. Show me yours, I’ll show you mine: relationships as transactions are not a new idea and sex often plays a crucial role when partners negotiate their needs. In According To His Need, hobby socialist Nick joins the party to finally score again.
You don’t have to be a Londoner to get nabakov’s Symphony but if you are, then in between the lines, beats and off-beats of the drum the piece shares a knowing wink that talks of take-away coffee and unlikely beauty among unrelenting hectic. Although there is a different kind of electricity in the air, at
Some Fringe clichés exist for a reason. One of the more tragic ones tells of the talented performer who enters the stage to face a nearly empty auditorium. Only one or two punters have showed up and the performer has the choice between quitting or to committing to an hour long figurative lap dance, vying
This raucous romp with a proclivity for puns and a lot of alliterative ardour flails ferociously to amuse. If someone had dirt on Tarantino and forced him to do a period piece with pirates the result would look a little like Nougat for Kings. The show borrows not only the master of neo-noir’s tangled plots
It’s just a white line on the floor, the rest is black. Then, a tiny part of the line moves and after a while it slowly erects itself. It bends down again and suddenly comes to life. It wriggles about and dances to some kind of silent beat. This simple white line has turned into
Have you wandered around London’s China Town lately? The pretty gates in Soho serve as a popular tourist attraction but have you ever wondered where the Chinese community in London actually lives? Not in Soho, that’s for sure, swamped as it is with actor’s agents and film post-production offices. The Last Days of Limehouse invites
A sprawling tree like a cradle, a serene haven for suburban Adam and Eve: Catherine and William Blake. When a visitor intrudes, Paradise is Lost in more than one way. The tree leaves are dead and the crowd outside of this South London Eden is roaring. Revolutions, counter revolutions – killing in the name of
Welcome to Borduria, the country inhabiting all fictional characters. Goldilocks lives in Northern Borduria but the portal in a basement of the brutalist Balfron tower leads straight to the grim South where the unscrupulous and scheming Macbeths reside. Alongside the fictional characters live the Bordurian citizens who show around the spatially shifted visitor and speak
Mysterious and shrouded in fog, a group of women perform a solemn death dance around empty chairs – an eerie foresight into the fate of a community that will be decimated by a relentless witch hunt. As an opening it’s tender, quiet and simple, but also quite unlike the high-octane shout matches that dominate the
This play, it farts, it licks, it spits. Cheek by Jowl’s hugely successful Ubu Roi returns to the Barbican in all its decadence-smashing scrutiny. An adolescent boy with a camera pans over dead meat and the extreme close-up is projected on the crème walls of a pristine dining room. A middle-aged couple swoops on stage
