Charlie Wilks - Page 9

Louise Jameson played the iconic role of assistant Leela in Doctor Who in the Seventies opposite Tom Baker. She later starred in Tenko, Bergerac and EastEnders. In a 40-year career, her first love, the theatre, has seen her work with the National Theatre and RSC, amongst others. Now she stars in Philip Ridley's modern classic, Vincent River, currently playing at Park Theatre.

No matter where we are, our surroundings are a living consequence of the decisions we make. The organs that form the makeup of society are pumped by our actions, and this spirt flows through the city, being present wherever we go. However, if you look closely enough, you'll realise that not everyone is a positive effect to our environment. Some people are viruses, causing damage. It's not always intentional, but it's almost definitely destructive.

A young girl in a football tee steps on stage and begins to sing a melodic tune. Her voice is angelic, lulling you into a fall sense of comfort - until she begins to choke on herself, coughing up copious amounts of blood.

It's not everyday you get to sit in such a large auditorium and watch one person entertain you for 90 minutes. When you think about it, it's actually a lot of pressure for just one individual. The Eventim holds over 3500 people and with that comes that same amount of varying personal tastes to have to appeal to.

If you like powerful vocals, camp conversational exchanges and dry humour then this is the show for you.

This is one of those plays that make you question how a human brain ever came up with it. Deliberately messy in its composition but acutely tight-knitted in its execution, Ned Bennett's quirky production alienates, whilst at the same time intrigues. The entire room is filled with bewilderment, yet there's an enjoyment within that curiosity, as we actively attempt to work out what's going on.

This is a story that the majority of us will know. Some worship it as truth, whilst others think it's make believe. Regardless of your viewpoint, you know how it goes. There's no curveballs; the ending is always the same.

Fairy tales don't just have to be for children, and Max Webster's production proves it's still possible to get our imaginations sparked. There may be no fire-breathing dragons in this story, however there is certainly a wicked stepfather, a sleeping potion and some form of mystical powers at hand.

Translated by Maja Zade, Falk Richter's text is an unbalancing assault on capitalism, and a scrutiny of the most basic human emotion - love. After 14 years together a couple find themselves at a turning point in their lives. Their trust has been shattered and now they need to decide on what route to take next.

The Arcola Queer Collective present two new works as part of their Creative Disruption season.

Alice has been dead for three days. She's committed suicide, but finds herself stuck in the position of not knowing where she's at. Having the ability to travel around her old surroundings, she views the aftermath of her fatal decision. Her family mourn, her friends question why and other acquaintances don't really know what to feel.

Jubilee is an event that fucks with every theatrical convention; but it also provokes its audience in the most important way. Derek Jarman's iconic film has been adapted to the stage by Chris Goode; centring around a marauding girl gang on a killing spree and a time-travelling Queen Elizabeth 1 - telling a story of what happens when creativity and nihilism collide.

Told By An Idiot have been creating the unexpected for 25 years, and with this offering they provide a comedic, alternative historical take on one of France's most formidable leaders. Based on Simon Leys' novel The Death of Napoleon, this page to stage interpretation features copious amounts of humour that consistently entertains.

In her brutally honest and refreshingly unique story about addiction and self-fulfilment, Daniella Isaacs performs a personal response to her experience of the Wellness industry. Placing a sharp focus on our understanding of beauty in the current social media charged climate, this one-hour piece is a brave sharing of one's inner suffering.

It's 1965 and a new phenomenon is erupting out of the East End. It's trendy, vibrant and contagious. It's Mod. Filled with so much nostalgia, the show charts the story of the Small Faces - the band that encapsulated all that was Mod. All or Nothing has undergone three national tours, playing to many packed houses, and now it arrives at the West End for the first time.

If I were to think of hell, I could see it resembling something similar to the Vaults. The damp walls, cold mist and consistent rumbling add to what I imagine the underworld would feel like. Currently, there is an atmospheric circus residing with the tunnels.

This show's creation has been a long time in the making. After lots of time spent researching and refining Kane Husband's company The Pappy Show have developed a production that puts individuality of humanity at the forefront. BOYS isn't a story per say, but an anecdotal revelation into the lives of a selection of young men.

Desperately struggling to hold their family together, sisters Becky and Anna fight for survival. Stuck in a rut, they befriend a wandering stranger who aimlessly navigates the land. Together, the three strike up an unlikely friendship in their bid to remain alive. Time moves slowly in this part of the world, and this makes the trio reflect intensely on every moment that passes.

After a successful debut at last year's Edinburgh Festival, Derek Ahonen's one-woman show opens on 9 February at the King's Head Theatre. Catherine and Anita is a dark comedy about heartbreak, mental illness and how those in need so often slip through the cracks. Ahonen is an internationally acclaimed playwright, director and founder of The Amoralist Theatre Company in New York. 

Combining the centuries-old skills and traditions of the touring circus troupe, this is a variety act like no other. Contained within is an assortment of acrobatics, contortion, knife throwing, motorbikes, fire juggling, and so much more, from performers originating from as far afield as Kenya, Cuba, Mongolia, Brazil etc.