Charlie Wilks - Page 8

Demi is the bastard son of a Nigerian woman and the Greek god Zeus. Half mortal, he has strong elemental power, but also possesses an insane talent in playing basketball. Spanning through Greek and Yoruba mythology, Inua Ellam's magical poem takes you back to the roots of performance.

In an ordinary part of the north, Hope and Katie work at their local corner shop. Life is pretty good for them; they know their routine and are happy with it. For Katie, the shop is a safe place for her to be herself; for her to be open with her love for Hope, away from judgement and other people's passing comments.

Expect lots of frights and surprises in this production, as the hit from 10 years ago makes its way back to where it all started. After many transfers, tours and a well-received film, Jeremy Dyson and Andy Nyman's horror tale seems scarier than ever.

Alistair's mum and dad have split up; his life is about to change. The pair's separation seems initially very mature and amicable, but it soon turns toxic and things begin to get out of control. Everything's a bit mad in Kellie Smith's new play, which takes a domestic struggle and amplifies it, creating a clunky and monotonous drama.

Over recent years The Yard has developed a reputation for staging bold and pretty out there productions, usually boding well with audiences and generating a definite buzz about the space.

Based on August Strindberg's A Dream Play (1901), SAGA is an effective blend of text and physical comedy, investigating what happens when an outsider visits a place that has problems. Presented by Stones Theatre Company, the ensemble consists of four talented bi-lingual actresses, (Frida Storm, Julia Florimo, Olivia Skoog and Marie Rabe), who share so much delicious chemistry on stage.

Penelope Skinner's monologue arrives at Soho Theatre, after a successful stint in Edinburgh. It's a piece that packs the subtlest of punches, as it gently reveals what's currently going on in the ever-growing community of unhappy men.

Four women, along with the assistance of their stage manager Chrystal, attempt to create a proposal for a new female-led prison drama - one that this time actually details the truth of the judicial system. How will they ensure that they've got their facts right? Well, they've all been inside themselves and will be using their own personal experiences to tell the story.

The Bush has had non-stop success after success with their recent programming, however this show misses the mark by a lot. Roy Alexander Weise, whose career has also gone from strength to strength, directs Eve Leigh's confusing and dull text. Billed as a magic show, it is anything but spectacular.

Seven performers individually enter the space and stare. They stare at us for a long while. One of them speaks; then another and so on. They continue this pattern, mixing it up with movement sequences, songs and direct address. It's all systems go in Outbox Theatre's vibrant production, which takes gender and deconstructs it, allowing an investigation into its themes and contexts to take place.

A piece that could easily feel out dated is anything but as Ned Bennett's production of Peter Shaffer's Equus blasts onto the Stratford stage, before going off on tour with English Touring Theatre. A twisted story of a boy's love for horses, the play asks questions of power, control and the human soul.

Following on from a traumatic incident that occurred months ago, two individuals become the best of friends, despite the unlikeliest of circumstances. Rocked by tragedy, soft animals is an in depth investigation into the many stages of grief, questioning culpability and the wider implications of our actions.

Greed can do terrible things to a person. The desire to constantly make money will inevitably lead to ethics being lost, friendships being tainted and mistakes being made. The themes of pain and mistrust are ever so evident in Ishy Din's new play, which sees a man with a dream risk it all to win big.

Willy Hudson walks onto the stage in nothing but a towel, asking a member of the audience to help him put his underwear on. The action is repeated for a t-shirt and some shorts. He continually asks, "Has he text me?" referencing a mystery dude that Hudson went on a date with the previous evening. There isn't a response from the guy yet.

A society is in ruins, and in this tale of depression, dependency and deluge, the human experience is voyeuristically examined, to reveal what happens when you leave folks behind. Focusing in on one singular place, the play goes through the motions to show how the odds can be unfairly stacked against people.

​​​​​​​Throughout this 75-minute cabaret spectacular, stars of the London queer scene come together to provide a variety show like no other. Featuring an eclectic mix of song, music and comedy, it's remarkably different to what you usually see on the London Coliseum stage.

Caning may be something from long in the past, but in Mark Ravenhill's new drama it's all anybody ever seems to talk about. Under Vicky Featherstone's direction, the narrative follows a teacher under siege from the kids he used to teach. The drama unfolds as their estranged daughter visits this world of anarchy, confusion and hostile aggression.

Natasha Gordon's glorious writing debut, under Roy Alexander Weise's direction, transfers to the West End, managing to retain all of the magic it held whilst on the Dorfman stage. Following the story of how a family grieve, it's a play full of laughter, struggle and hope.

This is a really sweet show. It's one that enchants its audience, inviting them into a story of vulnerability, queer identity and synchronised swimming.

Ellie Kendrick's writing debut is a one-hour attack on the senses. Visceral and to the point, the Royal Court Upstairs stage is alive with the anarchic cry for unity and retribution. The play is co-directed by RashDash's Abbi Greenland and Helen Goalen, and alongside a company of six they take us on a journey of physics, mythology and misogyny.