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Reviews

The company in 'The Cord' at Bush Theatre. Photo Manuel Harlan
19 Apr
Reviews
Stuart King

Review: THE CORD at Bush Theatre

Bijan Sheibani has both written and directed THE CORD which is a reference to matters umbilical and a fascinating exploration of the mental and emotional impact which a mother's experience during and after giving birth, can have on her. It also looks at those nearest family members caught-up in any complications, damage to the bonding process and how such matters may impact the child in later life when they are grown and having children of their own.

The company in 'The Cord' at Bush Theatre. Photo Manuel Harlan The company in 'The Cord' at Bush Theatre. Photo Manuel Harlan

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Sadie Clark in Algorithms at Park Theatre
19 Apr
Reviews
Stuart King

Review: ALGORITHMS at Park Theatre

Writer/performer Sadie Clark has been performing ALGORITHMS (her ‘Bisexual Bridget Jones for the online generation’) at various locations since 2018 and in that time, has been the beneficiary of critical praise, awards, and has had the material developed for other media.

Sadie Clark in Algorithms at Park TheatreSadie Clark in Algorithms at Park Theatre.

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Brandon Grace (Charley Hexam), Ellie-May Sheridan (Jenny Wren) and Scott Karim (Bradley Headstone) in London Tide at the National Theatre. © Marc Brenner
18 Apr
Reviews
Stuart King

Review: LONDON TIDE at National Lyttelton

On a stage which is pre-set to look like the backstage of any modern theatre, complete with lowered lighting-rig and blacked-out floors, the current production playing at the Lyttelton space, begins very much as it ends. During the intervening hours however, and despite the minimal set, the stage is a very busy place indeed, reflective of the Dickensian period’s hustle and bustle and especially the districts and people who live closest to the river.

Brandon Grace (Charley Hexam), Ellie-May Sheridan (Jenny Wren) and Scott Karim (Bradley Headstone) in London Tide at the National Theatre. © Marc BrennerBrandon Grace (Charley Hexam), Ellie-May Sheridan (Jenny Wren) and Scott Karim (Bradley Headstone) in London Tide at the National Theatre. © Marc Brenner.

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Almeida Theatre - The Comeuppance. Yolanda Kettle, Ferdinand Kingsley, Katie Leung, Tamara Lawrance and Anthony Welsh. Credit Marc Brenner
15 Apr
Reviews
Stuart King

Review: THE COMEUPPANCE at Almeida

A small group of high school friends attend an informal pre-party to their main 20th anniversary school reunion. Some have stayed local to the now Trumpian American backwater, whilst others moved away or were irreparably changed by their time spent serving overseas. As we learn how each has been variously touched by the passing of time, they bemoan elements of their lives and some cannot resist the urge to pick at old wounds.

Almeida Theatre - The Comeuppance. Yolanda Kettle, Ferdinand Kingsley, Katie Leung, Tamara Lawrance and Anthony Welsh. Credit Marc BrennerYolanda Kettle, Ferdinand Kingsley, Katie Leung, Tamara Lawrance and Anthony Welsh in The Comeuppance at the Almeida Theatre. Credit Marc Brenner

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Aaron Thakar (Ash) and Destiny Mayers (Lilah) in Artificially Yours at Riverside Studios. Photo by Andrew Fosker
12 Apr
Reviews
Stuart King

Review: ARTIFICIALLY YOURS at Riverside Studios

Pitching itself as a very modern dark comedy, ARTIFICIALLY YOURS explores the impact of AI technology on three couples who each have always listening therapy devices in their homes to help solve basic (and often petty) disputes. But can such a device really work? More importantly, is it doomed to failure when confronted with the deeper complexities around human interaction and disconnection?

Aaron Thakar (Ash) and Destiny Mayers (Lilah) in Artificially Yours at Riverside Studios. Photo by Andrew FoskerAaron Thakar (Ash) and Destiny Mayers (Lilah) in Artificially Yours at Riverside Studios. Photo by Andrew Fosker

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