Review: THAT'S ACE, VAULT Festival
In 45 minutes, Brace doesn’t have any answers to Ace’s uncertainties, but his queries aim the spotlight at a subject that still isn’t staged much.
Cindy Marcolina - Page 18
Review: FARM HALL, Jermyn Street Theatre
After Hitler’s death and the German defeat, the Führer’s top nuclear scientists are being held in the English countryside while the Pacific continues.
Review: THE PLAY WITH THE REALLY LONG SLIGHTLY POETIC SOUNDING TITLE..., VAULT Festival
It’s a show about everything and nothing, with comic patterns that are so deliciously millennial and referential that a lack of contextual knowledge from the audience destroys its outcome.
Review: SONS, VAULT Festival
“How do you raise a son?” is the leitmotif question that runs through Olugbeminiyi Bammodu’s one-man play.
Review: GOOD DAY, VAULT Festival
The piece interrogates the very core of our existence, bringing up a line-up of themes that are as thought-provoking as they are difficult to explore in 75 minutes.
Review: KITES, VAULT Festival
Meyler’s empathetic style has the capacity to make this a polished drama filled with escapism.
Review: GUSH, VAULT Festival
Gush is an unassuming comedy with big stand-up vibes until its real nature is revealed.
Review: THE NET KILL, VAULT Festival
Back at VAULT Festival for another rollicking production, Incognito Theatre take their humour seriously.
Review: REMYTHED, VAULT Festival
ReMythed zhuzhes up a series of fables, giving it a queer spin, to put what many consider “modern concepts” in perspective and combating LGBTQ+ erasure.
Review: FANBOY, VAULT Festival
Sellman-Leava’s piece was only a work-in-progress at the last pre-pandemic VAULT Festival.
Review: UNDER THE BLACK ROCK, Arcola Theatre
Tim Edge’s new play is technically stunning and infused with striking visuals, but a narrative let-down.
Incognito Theatre Brings THE NET KILL to VAULT Festival and New Film TWO IS A CROWD Online
Since the cusp of the pandemic, the founder and artistic director of the company, Angus Castle-Doughty has been busy.
Review: FRUITS, OR THE DECLINE OF A DISTANT MEMORY, VAULT Festival
Brazen experimentalism leans into performance art and blurs the lines of form and style with a non-narrative approach.
Review: RAT KING, VAULT Festival
A perplexing romanticisation of poverty and class divide with a stunning central performance by Jacob Wayne-O’Neill.
Review: SOMEONE OF SIGNIFICANCE, VAULT Festival
Unfortunately for writer Amalia Kontesi, this isn’t a great political play nor an exciting romantic drama.
Review: THE LONG RUN, VAULT Festival
Directed by VAULT Festival’s Head of Programming Bec Martin in her directorial debut, the play is dark in humour but not in atmosphere.
Review: SNAIL, VAULT Festival
Bebe Sanders’ latest play is a naturally flowing monologue that ambles comedy, satire, brutal honesty, and allegory.
Review: BURN, VAULT Festival
Beresford-Knox introduces a cunning monarch with a steely gaze and flawless posture.
Review: HAPPY DEATHDAY, VAULT Festival
People get very uncomfortable around death.
Review: RIGHT OF WAY, VAULT Festival
Created alongside Susannah Bramwell and Nina Fidderman (respectively credited as creative producer and associate artist), Right Of Way is emotionally intelligent and poignant.
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