Reviews by Sascha Cooper

Love in all its various forms can inspire different things in us. It can open doors to areas of ourselves we didn't know could be achieved before, but it can also challenge us in ways that can end up in the most negative way possible. It is the latter that inspires Fool's Paradise from rising Australian clown and storyteller Britt Plummer. She playfully and comedically explores love during her time on the fringe circuits when she meets a Swedish man called Otto, who rocks her world in more ways than one; especially being a performer himself. Plummer delves into how that love develops on the lead up to and during lockdown, eventually turning into an interesting ride when marriage is on the cards. Is it purely a marriage of convenience, or is all the hassle of getting that green card worth the wait?Plummer despite some sound issues with the music at the beginning being too loud occasionally and her head microphone at one point going into loud feedback screeches, presents a charming comedy which encourages us to want her to succeed in love. Her style of writing is reminiscent of romantic comedies such as Love Actually and Down with Love, yet at the centre of it all, she creates an experience that is a natural journey of the heart. It tugs at the heart strings, as well as creates moments that sneak in comedically catching you unawares. The only thing I will say is that there needs to be more clowning moments scattered throughout the show rather than just have the big clowning section at the end to emphasise the comedy more. What she does is more subtle that we expect and whilst it the majority of the time works depending on the context (such as creating Otto using a mop, clothes on a hanger and a good use of hand puppetry to show him trying to pour Prosecco into a glass and serving a meal), occasionally the silences feel longer than they need to be. As slick as it already is, tighten it a little more and the show will be heightened even more.The show itself is full of lighthearted playfulness and vulnerability as we would expect of a clown. Add the journey of love and a wedding into the mix, we then see elements of a Pierrot mime artist as her physicality becomes more in tune with the complexity of the emotions on show. Plummer has a light and friendly way of interacting with the audience, encouraging them to get involved with confetti in the shape of bananas and writing notes of support to help the legal paperwork. She also challenges us to explore love in a safe way that encourages her to grow as her character develops in the story, giving us Fools Paradise. A show that is fun, exploratory and empowering. One to definitely look at and enjoy.

All of us have been on our own respective journey individually, focusing on healing from heartbreak, trauma, loss and a rediscovery of self. Coffee After Therapy embraces these journeys and more, exploring the healing journey of the soul as it slowly but surely comes out the other side and switches from survival, to full empowerment as life comes back to our bones. Using song and various unique stories that intertwine with the main protagonist's journey, this new musical touches us on a level that not only resonates, but elevates the evolving story with care, sensitivity and raw vulnerability.Director, choreographer and actor Anita Adams presents this workshop production of Coffee After Therapy as both director and lead protagonist as she experiences the breakdown of a relationship after getting involved with each other when young. She alongside three other talented actors (one of which is a guitarist complimenting a piano player), makes some engaging choices as she pulls the audience in and creates a safe space for us to laugh, cry and feel moved by all she choses to show us. Her character development is well rounded and so focused on all the minute details that it is easy to see how passionate she is about the work on show and her character's journey.Adams' powerful singing voice adds an Andrew Lloyd-Webber-esque element to this musical, bringing back elements of Tell Me On A Sunday with Denise Van Outen and with the ensemble cast, creates a unique take on stripping musical theatre down to its most basic level. No huge sets, just a table, a piano and some chairs with a suggestion of costume which we see each performer use to create the characters reflecting Adams' character's mood and situation. From the busy set up of the office, to the open arms of a therapy circle of other broken women. This is done smoothly during the transitions between songs and creates the element of life changing as abruptly on stage as well as in life.If there is one thing to slightly improve on here, near the beginning, when we hear about the protagonist during different stages of her life as she enters the relationship at the age of seventeen, we see the ensemble take on what may be Adams' character through different ages as they are mentioned. This is unclear to begin with as each woman steps forward, but it becomes more clear as it progresses. Just a small tweak to be made here to make it clearer that it is the protagonist being shown here through these different forms just to add more fluidity and clarity.Apart from that, Adams' has created something in Coffee After Therapy that is different and engaging to watch. Musicals do focus on the ups and downs of love, as well as the detrimental aspects of it, but do not always focus on the reality that is behind the strong person healing. It will make your heart break, but it will also make your heart soar.

Court cases have always intrigued a modern audience. Thanks to the popularity of courtroom dramas like Law and Order UK, Suits and The Good Fight, we have become hooked on how the case unfolds in front of and behind the scenes. What if the case on offer was one that was so grey in terms of how we perceive consensual sex and rape? Slut Confessions is a well put together drama exploring this very concept, but is taken further. What if three different women who would never in a million years meet in real life, were joined together by the man on trial? What would evolve with all three in the same room before the court case?Despite being slightly thrown by the lights blowing mid show, this trio stay in character and carry on after saying they could continue with the house lights. This adds in an unusual sort of way to the dynamic of the piece, due to the somewhat creepy and sinister feel generated in the text. They keep the set simple with three chairs with hints of costume, which also adds to the gritty element of the drama presented here. Each actor creates a strong unit as they transition from these aforementioned women to other characters that for instance, represent men with a predatory feel to them as they seek their prey for the next conquest, to podcast hosts that focus on what it's like to be a non feminist wanting to be restricted by marriage and motherhood, as opposed to being free and full of ambition and life. Putting all this together sets the tone for what is to come and has the right amount of energy for this piece. Occasionally they are vocally too quiet and need to raise the volume slightly without losing the power of the words.The vulnerable honesty from the cast engages the audience as the wool slowly unravels. From the rape victim who realises that she didn't say no when she should have done, to the friend who doesn't seem to know what the accused is really like, to the lawyer representing the accused. Each story that unfolds intertwines with each other well and creates tension through a common thread that can follow women throughout their lives. When is freedom misconstrued as being, like the title suggests, a slut? Can women really have the same freedom as men and have the same respect? Each one showcases the individual nightmare stories from the dating scene with sensitivity and respect, taking it from the perspective of being young and targeted the most. The emotions are handled well and indicate there is more in common with these women than we first think.Slut Confessions is a gritty courtroom drama that leaves us wanting more. One to keep an eye out for.

If Shakespeare were alive today, he would very likely have a lot to say about the state of the world currently. He may also have upped his game with bawdy comedy. However, in his absence, Rogue Shakespeare step into the frame with Love Labours Won and Sweet Love Adieu. Both very different in style and subjects covered, but pays huge tribute to the Bard's work, with an extremely modern twist.In the setting of Brighton's Open Air Theatre, we are welcomed by the cast of Rogue Shakespeare as we settle down to watch the double bill on offer. Interestingly, the cast are in costume that indicates the original era Shakespeare wrote in, but are not in character as they interact with the audience. A bold decision to make, but one that can be viewed from two viewpoints. Initially this is to make the audience comfortable and welcomed so that they are not intimidated if they are picked on by the cast during the show. However, this can if you are used to more immersive theatrical experiences be a little disconcerting. If the show is a fully immersive experience, the cast stays in character so the audience is used to the characters being there and if you are chosen to be interacted with, the audience is then aware of the set up. On this occasion, there is very little interaction during the show in character apart from coming through the audience, sitting next to people occasionally and pin pointing others whilst sticking to the script. The intentions are good, but it may as a suggestion be better to either get rid of the interactive section at the beginning and concentrate on the text, or make sure the actors are in character from the word go so it is a genuine immersive experience.As the two plays progress, there is a strong use of Shakespeare's language fused with a charming modern wit from the hand of Ryan JW Smith. It is well constructed and sticks to the rhythmic use of iambic pentameter, whilst bringing forward the idea of love and lust with a good mix of traditional Shakespearian comedy in Love Labours Won and a heavy nod to the saucy farce of the Carry On Francise in Sweet Love Adieu.The cast in general provide a solidly strong framework for Smith's words. Apart from the odd stumble near the beginning, as the experience progresses, we see a company that has a clear passion for Shakespeare and modern fusions. They hit each beat without a miss, have clear character choices and provide entertainment in abundance. Each word spoken makes the plots easy to follow and even if you are not a fan of the Bard, Rogue Shakespeare makes you rethink everything you think you know about language, rhythm and more. They paint pictures with their physical comedy skills, banter and have a good feel for the plots, making them accessible to all.This is Shakespearian comedic hilarity for adults with lots of fun along the way.

Motherhood is a moment in which it is life changing for a woman. This may be a simplistic statement, but with every woman being different, the experience is never the same. Sour Grapes: The Musical seeks to explore an area of womanhood which is not always talked about after birth. Postpartum depression (PPD and also known as postnatal depression) is a scenario which according to the NHS website, can start in the first year of being a mother. It can involve sadness, withdrawal from people, lack of enjoyment, finding it difficult to look after yourself and your baby and frightening thoughts, which can include harming the child. Difficult subjects to tackle, but ones that need to be made more aware of to enable well needed conversations to be had in order to neutralise the stigma surrounding postpartum depression.Whilst this show due to the sensitive subject content may not be for everyone, this one woman show is one that explores this in a context which is well handled and represents postpartum depression at a stage where denying the much needed help affects the mental health journey with sometimes detrimental aftermaths. It is not what we expect a musical theatre piece to be. Music underlies it, with at least two songs performed. The script is well developed and performed sensitively by our main protagonist, drawing us into her world as she tries to cover up her abnormal feelings of wanting to be left alone and being distant from her child pretending everything is all right. As she gradually spirals into her dark period ahead of her, the way she switches between characters (such as the husband and a friend who is a psychiatrist) is subtle but differentiates each characteristic in a well rounded way. At times it is hard to hear some of her quieter moments if you are further back from the front of the stage, which means that some of the words are swallowed and it is difficult to engage with her journey occasionally. When she does release her pain and anger, it switches to a volume which is heartbreaking and heartfelt. Maybe a balance between the two states would make the vocal journey more audibly engaging. Right now, it needs a smaller space to really feel the intesity of the emotional journey she goes on, or be transferred into a film to capture the quieter moments better.Aside from that, Sour Grapes: The Musical is a powerful exploration of a more vulnerable mindset of a mother, based on the novel by Yetunde Lemboye, who doesn't know how to handle being a mother, whilst trying to be the person she once was. It is one that with some tweaks will become more intrisically dynamic than its current level. It is however heartfelt and has strong potential to go further with the topics involved.

Dance when it has a clear usage of passion, dedication and experimentation can be a fascinating exploration of how various rhythms and technique can conjure up colour, feelings not felt in a long time and more. Tap is not just a dance show, but a celebration of some of its origins through various countries, cultures and music that influences todays contemporaries. It is a fusion of rhythm, jazz and soul music respectively and freestyle improvisation that creates a new and exciting sound that brings back memories of original tap dance show Tap Dogs.Whilst Tap Dogs back in the day had a more lavish theatrical set the dancers used to experiment with to create their own style, today Tap through the talents of Lee Payne, Simeon Weedall & Lorraine Le-Blanc have their creativity, tap shoes, no set and musical instruments accompanying the action. What sets them apart from a lot of the dance shows today is their ability to at any given moment trust each other to subtly and seamlessly fuse one solo routine into a strong collaborative expression of trust, support and connection between one another. It becomes playful, with fun moments of comedy and silliness through verbal and physical banter, keeping everyone engaged and entertained.Lee Payne brings the relaxed and laid back approach to dance, as well as soulful jazz singing and playing a small trumpet reminiscent of Louis Armstrong's style. He has a natural way of making tap look easy, yet the rhythms created are tight and intricate with one or two surprises thrown in along the way. Payne's positive approach to his performance is one that ripples through the cast and audience through his warm smile and engaging eye contact and connects with everyone wellSimeon Weedall in contrast is a dancer and drummer who loves a more experimental approach to his work. Although Weedall says himself that he is a slow learner, he delights all watching him with sounds that can be quite difficult to even the more experienced dancer is a journey in itself. He creates dance fusion sounds that are reflective of the past and present with a hint at what the future could be like for tap dance. A highlight of his is a composition he calls Indian Rhythm, which brings aspects of Bollywood drums, stamping and more in both a solo and a group context which becomes intrinsically slick to listen to and watch.As for Lorraine Le-Blanc, she brings the soulful aspect to her dancing and was confident with her playfulness in style. She brings images of Spain to the routines presented through flamenco style rhythms and becomes almost child-like when she gets into her groove. Le-Blanc shares her joy in music not just for herself, but in supporting others and steps into her own style well.Tap strips dance back to the heart of where it needs to be and shows great respect and appreciation of all greats before them.

If Ben Elton's Blackadder met Oliver Cromwell and musical theatre, then you would have a funny musical extravaganza called B*rst*rds. It explores history in a way that is not only extremely well written, but has the appeal of making it enjoyable by adding original songs that are relevent to the plot, engaging and extremely rude without being insulting or crude. In this context, we see Oliver Cromwell at his most powerfully corrupt and William D’Avenant, the poet, writer and potentially William Shakespeare's illigitimate child, in the Tower of London serving his sentence for being a to traitor the country in supporting the last royal family. The two men meet in the Tower and what emerges is a potential partnership that could change the course of history forever. The issue is how far would you go to ensure your own freedom?Written by Will Holyhead (director) and Alex James Ellison (musical writer and director), B*rst*rds is a collaboration that is not only reminiscent of classic tv shows such as Blackadder and Upstart Crow, but a showcase of what can happen when you write a musical that is well designed for two people with little to no set and just a keyboard for the musical accompanyment. Holyhead and Ellison respectively create moments that are humourous, insightful and musically engaging, as well as paying respect to the period. The acting brings well defined characters that are solid and easily recognisable, through Holyhead's detailed direction. Oliver Cromwell has an essence of both Rowan Atkinson and David Mitchell as he settles into power and asserts his will over his chosen victim. At times his vocals are a little quiet, but it could be to do with his being a last minute replacement for this role and at times refers to the script on the table to make sure he is on track. Once the script goes, he becomes a character we love to hate and is more solid on his choices. I would say to him trust the words more as he was pretty much off book the majority of the time. His acting partner playing William D'Avenant on the opposite scale has strong vocals, suitable for any theatre space and commands his audience well whilst channelling his inner Tony Robinson with an element of Ben Elton. He showcases the brashness of the role well, but is also not afraid to bring a tear to the eye as he is given a tough choice. Sacrifice his art to get his freedom, or stick to his guns for the love of his banned work. Between the two of them, they have a strong partnership which has a dynamic chemistry that beams when they banter, jibe and insult each other that it becomes interesting to watch.Add to that Ellison's musical talents and B*rst*rds becomes a vibrant hit that will be a modern classic that gives musical theatre a much needed boost once the script is taken away and trusted more.

From the creators of Dizney in Drag comes Villains: A Dizney in Drag Parody. This time, we focus on the seemingly forgotten misunderstood characters of fairytales: Villains. Following the same storyline set up of the 'hero' on a quest with the help of the Hairy Godmother to find out who they really are, we see how Ville; a despicable weak individual who wants to be evil transforms from weakling to feared villain. With many recognisable characters along the way, we also get a parody of well known Disney songs with a twist to make it more comical and 'dragged' into the spotlight.Compared to when I last saw Dizney in Drag, it is lovely to see the Hairy Godmother quicker with the visual gags of what she can bring out from under her numerous dresses. This has really added a more focused element to the story that unfolds without distracting too much. However, as a collective, they seem to be thrown easily by unexpected occurences; such as the sound issues of Fool's Paradise Bunker tech team. Although they make each sound blunder part of the comedic cover ups, it is clear that they are easily thrown which stifles the action. Whilst it is understandable why they need head mics usually, they do not need them and can in this venue rely easily on simple vocal projection having seen other shows here over the fringe which works well.The other thing to note is that whilst as a company, Hairy Godmothers is a strong troop full of great drag performers, one or two characters need to be tweaked in terms of casting to make it stronger and funnier in places. One instance is that 'Hook' is too young to be really carrying off the eccentric depth this character needs to create the appeal needed. Although the puns are well executed and the right amount of innuendo is insinuated, Hook doesn't quite hit the mark in terms of the maturity needed. However in their 'twisted Aladdin' character, it becomes a better match in terms of energy and youthfulness needed. This character becomes more fun and easier to relate to as the banter between the twisted takes on the princes of Aladdin, Cinderella and Sleeping Beauty becomes more lewd and ludicrous and highlights the issue of gaslighting in dating and love.A highlight is the performer who takes on two classic Disney villains with finesse. Ursula as a woman who is all about being overlooked by traditional beauty standards and asserts the power of being authentically yourself, as well as Cruella De Ville as a dominatrix with 'puppy subs' exploring the use of power in the right (or wrong) way. She steps in last minute to replace the original Ursula and does have a script in hand, but shines as the woman who encourages Ville to be authentic, warts and all. As Cruella, she exudes sex appeal and wit that will cut you to the core, but likewise makes it charmingly appealing.A fun, sexy and charming show.

Love is a powerful emotion. It can either make, or break a person, sending us into mental spirals at times that seem out of control and become not quite ourselves. Company RAu's DIDO goes out of its way to strip down and fuse together two famous pieces of writing by Virgil and Christopher Marlowe respectively, focusing on doomed lovers Dido and Aeneid to create a powerful performance that explores the impact love can have to the point of paranoia, obsession and personal destruction. Using a combination of spoken word, original music, physical theatre, dance and complimentary visual projections, choreographer and performer Korhan Basaran creates a world in which mental health gradually descends into madness and keeps everyone on the edge of their seats.There are a couple of times where it is uncertain whether the show has started or finished due to some long moments of silence in pitch black. This whilst it adds to the brokeness of our Queen of Carthage Dido, does need to be tightened up to keep the action moving a little more and enable more engagement. What however evolves through Basaran's tight choreography and emotional performance, the intensity of Tolga Yayalar’s musical composition and the visual projections designed by Ataman Girisken is an experience that is vulnerable, challenging and interesting to watch. The intensity of Dido's obsession with a man that has captured her soul is relatable to some and Basaran is not afraid to explore how far the mind can take you. By building on repetitive actions and intricate rhythms that slowly depict her descent into madness, he creates someone you feel you want to help, but don't feel you can get too close in case you get hurt too.The music is not overpowering, but underlines the energy needed to create this never ending maze of emotional destruction. Yayalar taps into how music can affect movement and mindset, but rather than healing Dido, it cleverly suggests how the mind can play tricks in a negative way. What we think is a song that aids us to take action, can be simply a vibration the brain sends out to propel us to do something else that we wouldn't do normally. Wind is focussed on a lot here as Aeneid's ship fleet sets sail and his broken-hearted lover proclaims that she will control the wind to keep him near her. Musically it flexes well keeping in with the theme of obsession and almost becoming God-like in actions and proclamations to keep their love close.Finally the visual projections add the finishing touches to seal the lovers' fate as things become worse for Dido. Girisken's insight into how the brain perceives different vibrations compliment the physical performance to the extent of becoming visually stimulated, whilst giving us food for though through vibrant colour and hints of elements such as water and fire that make the world that evolves a harsh reality of being mentally unstable.Company RAu's DIDO has a strong flow of creativity and vulnerability. One to watch.

The Empress and Me is based on the true story of Lizzie Yu (Princess) Der Ling, who spent time as a lady in waiting to the Empress Cixi in Victorian China. We discover through an observational monologue, Michelle Yim's portrayal of a woman who not only discovered she never really fitted into the Chinese Royal Court, but also faced racism. Racism today is still rife, but if you lived in Victorian times, it was a completely different story. Yim sensitively explores these subjects and the idea of being classed as a foreigner in your own country through the Princess' eyes.There is a lot of information to digest in this piece, but it all neatly fits together as Lizzy Yu Der Ling's story is told. We discover that she was born into a family that never was going to fit in with Chinese family traditions in the first place. Her father was a Chinese diplomat who believed that both sexes should be equally educated and treated the same, so he encouraged everyone to speak English as much as possible, made sure that none of the siblings were separated so they were with the same sex and encouraged them to have the same education with no division as was traditionally practiced. The key moment to note is how much Der Ling is influenced by her father's unconventional values is when he observes that he 'feels like a foreigner in his own country'. It is revealed that he did everything in his power to change China to no avail, but his daughter inherited his fighting spirit as she moved forward.Like The Ballad of Mulan, Yim puts a lot of thought and detail into the character, as well as the set and costume. This time, we see her in traditional Royal Court attire and elaborate headwear as she looks after the Empress and develops a close relationship with her. Later we gradually see her change to more simplistic and stylish clothes of the period as she indicates with ease through a suggestion of props such as the contraversial book Der Ling wrote whilst in the States called Old Buddha, revealing the reality about the Empress, to a more traditional wooden chair indicating the harsher traditions of the past. Yim seems to be a little more tentative here, but as her performance progresses, she becomes more settled; especially when she touches on moments that give you a moment to reflect. She mentions a more terrifying time for the family when war broke out back home and her father was warned not to return until further notice. Being in Paris at the time learning to dance under Isadora Duncan's watchful eye, it became clear that wherever they were, they were under a lot of scrutiny for being different and Yim portrays her journey with care and insightfulness. The fear portrayed is raw and not to be dismissed.The Empress and Me is detailed, subtle and thought provoking with subjects that are still relevant today.

Time travel has always been in the public consciousness, with early influences such as HG Well's The Time Machine. In more recent years, with the resurgance of Doctor Who, as well as epic action films that include the DC and Marvel franchises, we have been more aware of the possibility of other dimensions and the intriguing aspect that different vibrational frequencies that other animals (such as cats) are able to hear, influence other choices that could have been made, opening up other possibilities. What if we were able to treat those other realms as we would an insurance claim? Could we gain compensation if certain choices were not able to be reversed? This is what Music For Cats explores in an intelligent, comical way.This interesting three-hander play showcases these dynamics fused with the sometimes insanely ineptness of office workers, creating a set up that is fast paced, questions logic and makes a strangely sane case for making a claim that involves the potential of having a second child that hasn't been accounted for in another life. Pryor (Andrew Crouch) is the one who challenges this particular rejected claim so he can make sure that the child is brought back. His frustration is felt when he keeps going round and round in circles trying to state that his 'photographic memory' is not made up and the biggest connection he has to this life is something that is music-like, but not quite. Almost like a lullaby that soothes a child crying. Crouch's angst is well handled and portrays the case in a way that goes beyond your normal insurance claim meeting. The comedy is also delivered with good pace and energy that keeps us engaged.Matt Vickery takes on office worker Charlie who begins handling the case. His apporoach is a more gentle one which explores how stress can be a trigger if not handled the right way. The child-like exploration of this character as he sucks on a lollypop to calm him down and gradually reveals a potential internal error that could change Pryor's life is charming and playful, yet gives the impression that he in his own innocent way wants to make a difference when he sees the case unfold in front of him. Vickery has an element of surprise when he switches between states and is fun to watch.As for Eleanor Stourton's Post, occasionally it is hard to hear some of her words in the beginning, but as Music For Cats progresses, she becomes more comfortable in her role. Post is an office manager who likes to play everything by the books and has a twang to her voice which Stourton satirises well; a tone that to someone trying to get something sorted out does not want to hear grating on their fragile mindset. The way she handles the two men and steps into Pryor's shoes is subtle, yet has impact on the action that follows.Fun, intelligent and comically confusing, leaving us with food for thought.

When people think of Charles Dickens, one of the first things people think of are the variety of novels and articles he wrote, as well as his troubled love life away from the spotlight. What many of us may not know is that he had one person he was proud to call a true friend. The actor/actor manager William Charles Macready, whom this strong one man show is dedicated to. Macready! Dickens' Theatrical Friend showcases the extrodinary life of Macready himself, revealing how he felt during his lifetime about his love for his theatrical craft, his colleagues, life and more. Created and performed by Mark Stratford of Stratford Productions, he takes us on an intense and emotional journey with an equal amount of comedy and drama along the way, introducing us to a vast array of characters in Macready's life, whilst maintaining the stance of an ever present narrator, switching in and out of each character with ease. By doing this, it creates an almost Brechtian feel to the piece in terms of storytelling, yet at the right moments pulls us in and connects to us well. The character of Macready in particular from the very beginning is keen to show us the reality of coming into theatre thanks to his parents being in that world themselves. His mother Christina Ann Birch being an actress herself encouraged the young boy to perform, but his father William Macready The Elder was an actor manager and was more harsh towards him as he learned his craft. Stratford shows the two different personalities of each parent well, adding a good balance of nurture from Christina, with an abrupt change of accent into Irish and a dash of brutal honesty. Other characters emerge over the next hour with a well rounded approach to all of them; including a manager of a theatre who didn't believe in the classics and made Macready only do the first three acts of Richard III to make a laughing stock of him. In response, Macready punches him, potentially destroying his reputation. Stratford tackles this moment in his life with a sensitivity that you understand his somewhat questionable actions and want him to succeed.One thing that does need a little tightening is the sound effects. Occasionally they try to drown out Stratford's voice, but he does make it part of the action well. The one that is used more often is fake applause. Whilst this can be a risk in the sense of potentially distracting from the text, it is made clear as to why this is being used. Macready judged his success on how much applause he got as an actor. Hearing that statement marks how theatre then is now relevant today, especially with many musicals and comedies taking a similar stance as opposed to classical texts as showcased here.Macready! Dickens' Theatrical Friend is a show that has charm, wit and engaging moments. One not to be missed.

Thanks to popular television programmes such as Horrible Histories, history has been a fascinating subject for everyone; especially if it looks in detail at interesting characters we may know by name and the main events they are associated with. What if we had the chance to hear Nell Gwyn's story in her own words in her most comfortable place on stage (or in Charles II's bedroom)? During this year's Brighton Fringe, we have the opportunity to do this thanks to Rogue Shakespeare and their second play this season Pretty Witty Nell. Here we see Gwyn herself not only entertaining us with her stylised, restorative wit, but also invites us to listen to her tale; a rare chance to hear her life story with all the juicy details history doesn't always show.Rogue Shakespeare seems to be very thorough in the telling of Nell Gwyn's story, and allows the natural comedic element of the character come through Ryan JW Smith's well written dialogue. Despite one or two stumbles over some of the words near the beginning, Gwyn is brought to life as she shares her life from being poor to being the King's chosen concubine. We find out that in order to bring money in, her mother starts her own brothel and Nell serves the customers behind the bar whilst they wait their turn. When she turns to acting, she finds comedy is her strongest suit and starts turning men's heads as she learns her trade and discovers this life isn't always all it's cracked up to be through some of her early disastrous choices with men before ending up with her 'Charlie' as she calls him.It is an extremely strong performance with very clear characters which are not rushed as their carefully planned transitions take place with a slight hint of a change of wig, or a prop to highlight the distinct voices and physicality used for each one. Sometimes the comedy catches you unawares as she satirises people she dislikes in particular; such as the rival mistress her 'Charlie' takes in who is French and is an aristocrat. She mocks her with an accent that is reminiscent of classic comedy series Allo Allo and is equally saucy with it when imitating her with no remorse. A simple red sparkling lace fan represents her and a really well observed moment of hilarity occurs when she describes the rival as a short woman. Shortly after she says it, she takes a moment, realises the fan is too high and quickly moves it down with such force that she makes herself taller than the other woman.Rogue Shakespeare's Pretty Witty Nell is funny, sharp witted and brutally honest about life and the era Gwyn lived in. One to watch.

The art of storytelling has always inspired our imaginations. From tales of magic, chivalry and heroism, to ones involving an infamous villain or two. No matter how old we are, any of these characters and adventures stir the heart and mind. Tales For an Unruly Audience invites us to step back in time when stories in an oral tradition were popular; especially if it involved entertainment, drinking and more. George Attwill from Lung and a Half Full Theatre takes inspiration from when Bards were the storytellers and brings this beautiful art form into our modern era.Whilst some audiences may need warming up to begin with, Attwill uses a fusion of storytelling and improvisation games to break the ice, which adds to the experience and spontaneity of the event itself. As the story progresses, those sitting in the front two or three rows also have a chance to get interactive using unique creative props enabling them to become involved with the stories themselves. These range from the 'Pearls of Wisdom' a magician tries to catch in his hat being represented by ping pong balls, to attacking a prop giant with confetti cannons. By using these methods, the fun element is raised and encourages the audience to become more 'unruly' as proceedings unfold. One thing that makes Attwill's performance interesting to watch is his ability to adapt to any audience, which can be a hard feat to achieve. He does this in such a way that despite the unexpectedness improvisation can bring, he maintains a strong connection between each story so that the flow continues to keep the attention on what is evolving. Through his simple use of a swift change of costume suggestion (such as coats and hats), to a comedic use of music and sound effects, Attwill enhances the stories in such a way that our imaginations can see each event on stage clearly. By experiencing this form of storytelling and performance combined, one can also see it not just in a theatre style setting, but a more intimate one such as around a fire, or a smaller room above a pub without the props involved; except the power of the words spoken. Tales for an Unruly Audience is a show that due to audience interactions and suggestions, will be different each time, making it one that is worth experiencing to see what else inspires George Attwill's storytelling skills. It will keep you on your toes, make you smile and maybe create stories of your own.

There is a lot to be said about historical figures that in their own quiet way made a difference to the world they lived in at the time. General Mulan was one of them. Prior to Disney's famous version of her tale, Barbara Streisand's Yentil had well publicised media comparisons to Mulan due to disguising herself as a boy to get by in the world. You could say that this idea has been around a long time thanks to Shakespeare's Twelfth Night and for some it may be an overdone dramatic plot today. The Ballad of Mulan sets out to dispel the myths behind the real woman who deliberately went against her own culture and upbringing in order to protect the country she loved dearly.Michelle Yim plays the enigmatic Mulan with such energy and vibrance, that you forget you are in in the middle of Regency Square in Brighton. Instead, using a simple set of a traditional war spear Mulan would have used, a low wooden table and chair, with a bowl of noodles and a bottle on it, complimented with a black backdrop that has red Chinese writing, which emerges with verbal translations as the show progresses, we are transported with force onto the battlefield. The detail that goes into this production is immaculate. From her traditional war outfit, to her hair in a high bun, to the extremely well designed and applied facial scars. Accompanied by an extremely well researched, insightful and humourous script, Yim embodies Mulan fully. We feel like we are in the presence of the great general herself as she reveals in her quiet reflective moments what life was really like for someone like her. Yim easily transitions between her time on the battlefield, training and living conditions with the army well, occasionally allowing us to see the rebel Mulan actually was, leading up to her leaving home. This is done with a charming intensity that draws us in to Mulan's reality. Yim is also not afraid to show how vulnerable Mulan was despite her tough exterior; especially as it is made clear that her childhood was one that many people would have dreamed of. Born into a family that was highly respected in their community with a close relationship with a war hero father, who taught her to stand up for herself. On the surface, Mulan had everything. The reality was that she was not happy and wanted more from life. Yim captures her spirit here well, as well as on the battlefield demonstrating some of the hard truths of how to use a spear, nearly getting crushed to death and more. The way she takes us on a journey never breaking the fourth wall is mesmerising, exciting and equally sensitively handled, and leaves us wanting more.The Ballad of Mulan is an early Brighton Fringe gem that is to be explored and enjoyed. If you love history and strong women, this performance is for you.

Have you ever been on several failed dates and lived to tell the tale? Sexy Rude Harp Concert explores the idea of trying to find the perfect match and a happy ever after in an honest, engaging and humourous way through personal anecdotes, harp playing and original songs parodying opera. Bringing all these different genres together, what you see is a woman on the edge of self discovery through her own sexuality as she tries to overcome her own doubts and past trauma by going on a sexual conquest of empowerment and more.Sam Hickman from the word go is upfront about her own journey trying to find a man. She uses anecdotes from her own life that lead her to where she is today sexually, creatively and musically that enables us to connect and relate to her as a person. From introducing us to a mother who scarred her by saying 'If I stayed a lesbian, I wouldn't have had you', we immediately see someone who is vulnerable and creates her own therapy using her harp playing and setting out to get revenge in a cheeky way on her mother despite them reconciling their differences. Part of that revenge explores finding something her mother couldn't have; a man. The way Hickman weaves in and out of each adventure into the next song is so slick that you have to stay on your toes as the jokes keep coming hard and fast. However, she is not afraid to have her moments of stillness to keep the variety fresh and to lure you into a false sense of security before another pun arrives.Hickman's skills as a performer are mesmerising as she tells her stories, but what really makes this show stand out is her harp playing and singing skills. Like a spider web, she weaves every note and lyric together so well that it gives the impression of someone who is out to make her mark on the world. Imagine Drag Race's Michelle Visage mixed with the musical and comedic ability of Victoria Wood and you have Sam Hickman. There is never a dull moment in Sexy Rude Harp Concert and the more you watch and participate, the more sassy the show gets with Hickman's charming way of luring you in.Sexy Rude Harp Concert is for adults who love pure, honest comedy, burlesque routines, unique songs and music that enhances the soul. Not to be missed.

The Elagabalia explores the idea of where we all belong as people. Whether we are in the right body or not, or whether we are truly serving our purpose no matter which era we are in. We meet Varia - a teenage girl who seems to be trapped in the body of a weak Roman emperor, confused as to where she truly fits in. As a man, they could truly follow the calling of traditional greatness. As a woman, they could be one of the best High Priestesses in the world. But can they also have a romantic life alongside their rather difficult position power wise, as well as be their most authentic self?Whilst the concept is good, the issue that occurs here is that it seems to cram so much into one hour, that it becomes almost chaotic and too intense to properly follow. Some of the characters are not as well formed as they could be, such as the almost God-like figure that is silently present throughout the whole piece, watching Varia make some atrocious mistakes, yet challenges them to ascertain their loyalties to the senate. It doesn't seem clear until nearer the end what the purpose of this character is. Alongside this, The Elagabalia as a piece of writing seems confusing as to which era it is set in. The costumes are modern, the language and events are modern, yet the places and names referred to are more traditional in placement; such as taverns and the Senate.One way of exploring this idea in more detail to potentially make it more palatable is to turn it into a film. Whilst theatre is a great way to make certain things more interesting in a smaller space such as The Actors Theatre, on this occasion it seems to intensify the action on a grander scale than it needs to due to the shortness of the piece. By turning it into a film, Achy Bits Productions would have more scope to expand the story and explore all these interesting themes in more detail.There are however two characters that particularly stand out which makes this play more interesting to watch. Firstly, Varia's grandmother, who despite being a more traditional grandmother figure on the outside, comes across as a more ruthless, political figure controlling the puppet strings. Her calm and collected approach gives a more rounded contrast to Varia's chaotic mindset, that we question who the real manipulative ruler is here. Then we see Varia's lover Heracles, who is originally bought as a slave for pure pleasure. The simplicity in the delivery of the performance of this role brings a sense of power over Varia's madness. The love you feel here is raw and in the present rather than being an archetype of a lover one can expect from a piece like this.The Elagabalia has potential to be developed further and is right now particularly suitable for audiences who want to be introduced to Greek Tragedy and Comedy in a different way.

Back in the day, the Carry On franchise was one of the biggest contraversial hits of all time. Lots of saucy seaside humour, innuendo and blatant use of sexuality as times changed. Matching the ever growing changes in attitude, the films headed up by actors such as Sid James, Barbara Windsor, Hattie Jaques and Kenneth Williams not only entertained a crowd, but parodied many viewpoints on relations between the sexes through various hysterical storylines (including racy takes on historical events).Can't Stop Carrying On explores the idea of how relevant this particular comedic genre could be to today's audience (or not), as well as celebrates everyone involved in making it a success then. Darren Haywood takes on the key figures in this well constructed one man show and explores various ideas about how times change rapidly; especially after Emmanuelle leading up to Carry On Columbus. Using the show's creator Peter Rogers as the main anchor with a script that is well researched and written by James Nicholas, Haywood showcases the way that Rogers worked in order to create the ideas and make them come to life with such a vibrant energy that even when he gets into hot water with viewpoints that do not seem to relate to today's audience, we cannot help but like him. At times, he comes across as almost childlike as the world changes; even when he is pulled up comedically by people such as Kenneth Williams, Charles Hawtrey, Hattie Jacques and Barbara Windsor. The way Haywood moves in and out of each character is like butter. Smooth and seemless. Even when he explores the idea of the ghosts of Peter's former actors coming back to haunt him, we see each one through subtle characteristic choices, such as Williams' enigmatic laugh and cutting Noel Coward wit, the deep resonant tones of Jacques and the ever vibrant Windsor's saucy trademark laugh. Occasionally it is hard to tell due to the subtle transitions whether Haywood is portraying a ghost or a living person, but it doesn't take away the fact that the past actions people carry out, leaves them with a choice. Get stuck there, or move forward. By moving forward with the times, this piece challenges us to see whether there is still a need for saucy humour today.Can't Stop Carrying On is perfect for those who love the Carry On franchise, but due to the amount of research into what really went on, this show goes beyond what we expect it to be. It has the perfect blend of innuendo, fun, drama and insight and also is easily accessible to those who are completely new to this form of satire.

Art by Yasmine Reza is a comedy focusing on a group of three friends, whose close friendship is tested and challenged by a painting. It's not an ordinary painting. It's a work of art that is simply entitled 'White'. The way all three characters interpret the seemingly bland idea creates a blank canvas that explores the blank canvas of the mind in a comedic way that is not afraid to be blunt and mindful at the same time.The set itself is very simple. Three chairs, two low tables, the canvas that 'White' is displayed on and the wall on the stage having a simple mechanism of beige fabric being unhooked to suggest different locations with a different painting under each panel that matches the characters' unique personalities. Although some of the script has had to be changed in order to make an all male script work for a female joining the cast, it has become a performance that in a creatively artistic way is relatable to today's audience.Sophie Dearlove's Colette draws us in to her subtle vulnerability as she gradually lets us into how she sees 'White'. Her honest approach to Colette enables us to connect with something that makes her happy, yet her complicated relationship with Marc makes us question the status to the relationship itself. Does she secretly fancy Marc? Does he secretly fancy her? If this is the case with both characters, the idea of the friendship getting out of hand over the painting becomes deeper than the original text suggests. Dearlove handles the deflective nature of Sophie in a very sensitive way that leaves us wanting more of her.Neil James plays the blatantly arrogant Marc, who sees things in a more pedantic way than most. The energetic approach he takes with this character adds to the conflict between all three friends well. Especially as he is not afraid to challenge the painting, adding to the drama within the comedy well. At times James has an element of Arthur Lowe's pompous infamous Captain Mannering about him. This in turn makes the tension within the enclosed space rise and is fascinating to watch.Finally, Duncan Henderson's Yvan creates an element of what can happen if you are trying to heal from a traumatic time in your life and are easily triggered by events that can mirror the trauma experienced. Henderson really envelops the lost boy element of Ivan, who is trying in an odd sort of way to find himself through the lead up to his own wedding. Henderson enables a relationship with all watching him immediately within the first few seconds of seeing Ivan. His performance has a real sense of rawness and an emotional vulnerability that is powerful to watch and creates a strong sense of comedy.Under the detailed direction of Roger Kay, Art becomes a dark comedy that is engaging and interesting to watch. The real dynamic is taking an all male piece to a new level to a modern audience which is extremely worth watching.

Lost to the Sea is an exploration of grief after losing a child to an accident at sea and how the power of words can be a huge part of the healing process going forwards. Using a fusion of storytelling from Annie Sheppard, accompanied by cello player Agnes Klepinger, we see a sensitively created piece that keeps everyone engaged and enables mindfulness to be a huge part of the journey everyone takes in this particular Fringe show. What sadly infringes on this piece is the choice of venue. Bar Broadway has two spaces, one main bar and a small intimate studio theatre at the top of the building where Lost to the Sea takes place. A lot of the time, with loud noise travelling up from the main bar, it makes it harder to concentrate on it, or hear crucial moments to aid the tale, which means aspects of the stories are occasionally lost. Despite this, Sheppard and Klepinger carry on regardless and make sure their tale is told. They weave their magic, integrating relatable topics such as sadness, memories and finding love again. The writing is intricate and weaves our reality into the land of myth where we hear about a girl who is kidnapped to be the wife of a fin-man and how she eventually escapes. This story is picked up by a woman called Brenda, who is undergoing a difficult time of losing her child by the method aforementioned and finds herself in a transitional period between fiction and reality as she finds the captured girl of the story following her in her dreams. Sheppard creates a world the majority of us can relate to. She treats all sensitive areas with respect and is likewise not afraid to take us to darker places where the mind can wander to during trauma. Sheppard is a traditional storyteller. No props, just words painting a picture of Brenda and the fin-man's world, inviting us to follow Brenda on her journey of healing, making sure that our hand is metaphorically held as we go along. The physicality of some of the characters are well defined, but it would be interesting to see what would happen if the actions were made a little bigger and less restricted to match the words spoken. This is potentially where a different, less restrictive venue could help a little here.As for Klepinger, her musicality is complimentary to Sheppard's storytelling skills. Likewise, it is simple, not over the top, but gently adds to the adventures that unfold. She adds drama where it is needed in times of conflict and envelops us into a sadness that doesn't make anyone feel uncomfortable. Occasionally she sings and plays other appropriate instruments such as clackers creating the idea of bags of coins clanking together and a singing bowl to enable an awakening of Brenda's mind.A good combination of skills and a heartwarming story, that would benefit from a better venue.

Education. An important tool in anyone's box that can aid the intellectual development of any student of any age. However, 5GO Theatre Company bring us a different interpretation of a classroom situation under a rather unique teacher called Miss Margarida. Over fifty years ago, Roberto Althayde wrote a powerful play called Miss Margarida's Way, in reaction to a corrupt usage of power in Brazil under dictatorship at the time. It satirises the abuse of power in any situation, whether it be family, religion, education, sex and more, using Miss Margarida's charismatic character as a symbol of how that power dynamic can change so abruptly that you do not know where you stand in it.Director, Julie Drake, explores the idea of what might happen if there were two sides to Miss Margarida. Instead of one woman playing her, she uses two dynamic actresses in the form of Hannah Luna and Leena Markoff to discover what would happen if these two sides were actually present at this very moment in time. Doing it this way runs the risk of being a distraction, but interestingly it adds another layer to the mix in the sense of the two sides to her becoming in a way almost schitzophrenic. One voice appears to charm one moment, then the other abruptly changes becoming more frustrated and angry that she is not being heard, or her needs not being met. Traditionally, one woman plays this character with all the different themes that emerge through a sense of sexual repression and that aforementioned frustration as she tries to maintain a sense of decorum teaching children Biology. With there being two women playing the same role, everything becomes doubled! Double the charm, anger and more importantly... power play.Luna and Markoff respectively bring a fluid energy to the piece, that once you get used to the fact they are playing the same character (or twins if you want to use more of a literal interpretation), they become so entwined with the power that it becomes an experience that is beyond a normal classroom situation. It becomes a platform to explore ethics, sexuality and morals that sadly today globally are still extremely relevant. The two of them are not afraid to go to the deepest, darkest aspects of their souls when they become triggered by something someone did or didn't say. When paired with the one single male pupil (Hugo Linton), they immediately switch from being a teacher, to a bully. This adds a darker edge to this satirical observational comedy and makes us question the idea of power over children and whether we actually have choices after being 'forced' into this world as we get older.Drake has created something in Miss Margarida's Way that is intense, but exciting to watch and discover something new.

Can theatre and film every truly be linked as performance forms? Is there a technique which overlaps these two things? Yes it can, and yes there is. Via a new physical theatre technique called Viewpoints with a special workshop in association with Brighton Film School, Brighton Fringe and Culture Connex called 'Viewpoints' For Screen (Student Masterclass). This technique enables the performer/drama practitioner to become more aware of being 'in the moment' and react more organically, whilst being aware of all going on around you. At the same time, we become more mindful, playful, spontaneous and more as the mental and physical reset takes place through various exercises that encourage trust, a deeper connection on both a performance and film technology level, self empowerment, confidence and sense of self.Led well by international film maker Erwin Mass and actor/cinematographer Guy de Lancy, they create an experience that not only gives professional performers like myself some new ways to look at your existing skills, but introduces you to the world of cinematography in a way that is intriguing and interesting to discover. At times the cinematography side of things is a little too technical for those who are more performers, but it is worth watching and staying with it in order to understand how Viewpoints as a technique transcends both forms. As Mass states, there is nothing new to be learned here, but we aim to get back through to a state of pure presence that you have as a baby. Before all the social conditioning happens in which we can worry about the future and our past actions, as babies we have no sense of time. We react organically with a cry, or a laugh at keys being dangled in front of us. That is where performers need to be, too.Through this workshop, both Mass and de Lancy encourage everyone to be free in a safe space that is created firstly by stages we play with, such as shape, texture, patterns and architecture. In themselves, they create something which on stage or screen that has no pretence, no 'acting'. Just 'being' in a space that can be elevated by a single look, someone being physically distant or close, a simple gesture that is not forced and many others. When you add cinematography to the mix, a visual reference such as 'The Golden Triangle', a seashell and more can bring further understanding to how the Viewpoints technique interlinks these two different worlds.'Viewpoints' For Screen (Student Masterclass) may only be limited to a two-hour class here, but it leaves us wanting more from Mass and de Lancy. This workshop is perfect for beginners on their creative journey, or professionals, as everyone is on the same level in this technique.

Rockstar isn't your stereotypical rock musical. It follows the story of three artists whose lives are changed when their love lives become complicated whilst working together to create something special musically and achieving fame. Secrets and lies emerge, power struggles ensue with their manager - will this unlikely trio find a way to solve this crisis and find a creative voice?When we think of rock musicals, the first ones we tend to think of can be We Will Rock You and Rock of Ages. These styles use rock songs and storylines that are made exciting by a live band and are not always in the realm of believability. Here with Rockstar, we get a very different feel as we not only see the performances that happen on-stage, but a very different perspective as we go backstage and witness the reality of all that slowly unravels as dangerous games of love are played out. Each carefully crafted song is on a backing track providing a background and backbone to each character, giving them a platform to sing the ironic reality of what each character goes through. Occasionally, with mics being used for the rock moments song-wise, it seems like one or two characters appear to be nervous using them and we lose some of the lyrics, particularly near the beginning of the show. However, off mic in the scripted parts, every single character is strong and dedicated and you can hear every word and emotion portrayed.Charlie Purbrook plays the deluded star-in-the-making Jack, who lets his own ego carry him down a rabbit hole of destruction. He handles each deflection and denial with such rock star charisma on one hand and, behind the scenes, sensitivity with the other. Every time he pushes someone away based on his feelings being suppressed, we feel like he needs a hug and to be reassured it's ok not to be ok. He is complimented by the raw and honest rejected songwriting friend Billy (Will Mugford), whose main goal in this show is to be accepted creatively and romantically. Mugford's emotional performances shine as he struggles to be heard, as well as try to be the voice of reason to Jack.Mara however is the shining light in this trio. Emily Santell showcases her musical prowess and acting skills as she portrays a woman who loves singing and who lets her heart get carried away with her, as she gets caught up in this twisted web they unwittingly weave. Her soul is free as she lets herself be in the moment on stage and is a joy to watch. Finishing this cast strongly is the power crazy manager Alistair (Olly Medlicott). As opposed to the dynamic trio, Medlicott is strong in his almost 'Bond Villainesque' portrayal who would happily be the next Simon Cowell if he had a choice. He brings a smooth and dynamic element to Rockstar and keeps you on the edge of your seats to see what dastardly trick he pulls off next.Rockstar is a strong story that needs to be watched if you love perspectives being challenged and strong original songs.

Dan Wye and Robyn Herfellow join forces to create a special gem for the Speigeltent at this year's Fringe. Fusing Herfellow's fierce keyboard skills, with stand-up, psychic mediumship, drag and song, Seayonce: The Res-Erection is a show that is universally accessible, entertaining and has a good storyline linking all these different genres together. Seayonce (to her annoyance) is brought back to the Fringe in order to make the biggest Res-Erection of her career, relaunching her as the best Ghost Whisperer in town. By 'communicating with the dead' and sharing bits of her life, alongside Lesley Anne's 'killer' musical skills and dry wit, we see an insight into life on an alternative plain as fears and more are confronted and explored.Wye portrays Seayonce with a wit that makes even the hardest of hearts melt. He oozes glamour, giving a sense of Tim Curry's Frank-N-Furter from The Rocky Horror Picture Show, fused with Glenn Close in Sunset Boulevard purely from the black turban with a pendular diamond representing the third eye and sparkle from a long flowing gown. The humour is filled with extremely quick to trot punchlines with the right amount of cheesy gags thrown in, yet it comes across as cleverly researched and respectful in the sense of what you would expect from a medium on platform - whilst playfully satirising the spirit world with sassy attitude and a lot of audience interaction.As for Herfellow's Lesley Anne, their skills on the keyboard are filled with beautiful notes and perfect comedically timed deflection as they create the perfect atmosphere needed to summon the spirits to raise everyone's energy and hopes. Unlike Wye's floaty and quick humour, Herfellow balances this out with a more down to earth and harsh approach to comedy that is reminiscent of Richard O'Brian's Riff Raff and EastEnders' Dot Cotton that catches you off guard. As they shares his insights on life, there is an element of cynicism and honesty that is engrossing to watch as the story unfolds. Let's just say that if you were to meet this person on a dark night in real life, you might want to run away. Here though, Herfellow has just the right energy to take on this vibrant character, without distracting from the action.Together, Wye and Herfellow are the perfect drag duo that transcend comedic talent. Add to the cauldron a dash of originality, elements of Paul O'Grady's humour as Lily Savage and musical theatre that create a show that is unlike any other on the circuit. Expect a mishmash of spiritual mayhem and fun to last a lifetime.

Imagine a world in which you are so influenced by music that the algorithm's suggestions are more powerful than the world itself. Now imagine two male receptionists - one with big dreams, the other who just wants a promotion. How do these two change the world of music as we know it? M U S I C is the latest show from the comedy duo HangDog in which they create the world of Stripify and fuse comedy, fantasy, unlikely superheroes and more. Together, they not only create a really sturdy storyline, but also take on numerous characters to create this interesting little bubble of creativity.HangDog as a duo are extremely strong in terms of showcasing their skills in both comedy and acting, as they create interesting characters between them - such as the egotistical head of Stripify, who does not believe in doubt and sacks anyone who doubts him or themselves. Or our unsuspecting hero's frustrating mother, who collects Subbuteo figures and gets into debt so many times through her obsession. Even our wannabe head receptionist makes a turn or two as a doctor who tries to stretch out a pint of beer whilst on duty. The odd satire of dead celebrities also make a guest appearance, such as John Lennon and David Bowie as part of Stripify's algorithm. Each one portrayed is extremely well crafted and draws the audience in from the very beginning as they enter the auditorium with one allocated pastry as a treat before 'work' starts, enabling a positive experience and atmosphere ahead.The dynamic that HangDog have as a couple is one that is engaging, upbeat and a clear close friendship that has an element of trust all the way throughout M U S I C. The fact they are able to over compensate if one half has a quiet vocal moment that we are unable to hear, or if something goes wrong is charming in itself. Having that safety net to play off one another and take creative risks using live music, original songs and absurdist physical theatre enables HangDog to create a space that is a special gift a lot of today's comic duo acts do not seem to have. It is clear to see that these two have a great career ahead of them and it will be fascinating to follow their creative journey to see what happens next.

Norse myths, legends and... wrestling? You may think that the combination of these contradicting styles of storytelling and sport would not work in this context, but Mythological Theatre proves us wrong by bringing stories that these days, unless you deliberately seek them out for a more spiritual discovery, are not often told.. until now! After watching this show, we discover something that both Norse enthusiasts such as myself and absolute newbies to this genre will adore.Ed Gamester created Mythos: Ragnarok after twenty years of being a professional wrestler, stuntman and more. He not only wrote, produced and directed it, but also starred as Odin himself. The clear passion and work that has gone into this spectacular production not only shows the amount of research done to enable the show to happen, but by using his professional skills and calling upon other professional wrestlers to make up this exciting cast, taps into the brutal, harsh reality of violence and war of days gone by. His Odin is shown as someone who, despite knowing his fate, is reckless and will do anything to maintain his own power. Gamester's powerful performance, writing, direction and wrestling skills combine to set the bar high for theatre as we know it going forward in an extremely fun, dynamic and exciting way that is accessible for everyone watching. One cannot credit that this is his first ever theatre show. It comes across as something that has been on the go for twenty years or more.But Mythos: Ragnarok would not be possible for the equally amazing team that makes up all the Gods and Goddesses involved. They include Sam Gardiner (Borr/Fenrir), Michael Reece (the amazing trickster Loki), Rachel Seagroatt (Gullveg), Beau Charles (Baldr), Maddison Myles (the fiery Goddess of War Freyja) and many more that change every night, so you never get the same experience of the wrestler performers each time.There are no weak performances here, but strong ones and extremely well choreographed fights that are likewise engaging, yet shocking to watch. The difference between normal stage combat and wrestling is that all the contact made is real. No staged contact... real! All this adds to the horror of what could have evolved in Norse Tales with no edited bits. Special mentions have to go to Reece and Myles for their intense portrayals of Loki and Freyja at this point, as they did not hold back in anything they did. Reece gave us one of the best Loki's I've seen in a long time as he played every trick in the book to get his own way, whilst Myles had exactly the right amount of scaremongering and brutal honesty as she paved the way for Freyja's victory. Mythological Theatre are the only theatre company in the UK that hires professional wrestlers for their shows and are the ones to watch for more exciting things to come.

The Brontë Sisters as writers changed the literary world as we know it. The Victorian era was full of literature that loved to shock, insinuate and more - as long as you were male. Using male pseudonyms to begin with, this band of three released classics such as Jane Eyre (Charlotte Brontë), Wuthering Heights (Emily Brontë) and The Tennant of Wildfell Hall (Anne Brontë) and challenged everyone's mindset with what may well have been psychologically sizzling underneath the surface. Polly Teale's Bronte looks at this unique family's historical roots; how they lived, wrote and viewed the world.Brighton Little Theatre takes on this insightful text of Teale's with such vigour. Each character we see has clearly been researched in great detail and they come to life on stage. The sets are beautifully constructed so that we immediately visualise the Brontës in their kitchen, or on the moors, or living in their heads. The combination of the cast building the set, the direction and choreography of Nettie Sheridan and Myles Locke's detailed lighting adds to the atmosphere the sisters created, as well as the almost fluid differentiation of each stage space we see as it evolves.But really, it is the strong cast that makes Bronte come to life. Everyone doubles up to not only represent the Brontës themselves, but the real life people who influenced their most famous characters, as well as people like Catherine Earnshaw, Heathcliff, Jane Eyre, Mr Rochester and more. Polly Jones (Emily), Lois Regan (Anne) and Joanna Aykroyd (Charlotte) portray the three sisters with such truthful performances and a closeness that shows complete trust between them. This enables them to show a family that has the capability of being creative in their own little worlds one moment, but stubborn enough to be capable of being angry without saying much.Steven Adams takes on the roles of Patrick Brontë (the father), as well as Mr Rochester, Constantin Heger and Arthur Bell Nicholls. Each one is shown sensitively with subtle characteristic changes to differentiate between all of them. But it is Patrick who is particularly performed with dexterity and harshness, that we can see a potential influence for people like Rochester in Jane Eyre, as he comes across as complicated, yet respected. Joining him is Joseph Bentley who takes on the troubled sibling Bramwell, alongside Heathcliff and Arthur Huntingdon. Bentley is one to watch as he takes us on the emotional journey Bramwell has with alcohol and drug addiction, as well as mounting debt. He does this with such immersive strength that each character he plays is so different from one another and is sensitively moving each time he metaphorically falls off a cliff.However, it is Ella Jay Morley's Catherine Earnshaw and Bertha Mason who beautifully symbolises the sexual suppression of the Brontë's era, as well as the frustration of not being able to have a voice. Her stimulating performance brings everyone together to make sure all are heard in their own way and is a joy to watch.Whether you are aware of the Brontës or not, this is a text to be discovered and explored.

Run To The Nuns is an extremely well constructed and developed musical that is focused on women in general, sexual health, religion and same sex relationships that overlap with each other in a gentle, accessible way. Set in a 'modern nunnery', we see the Mother Superior Doc (Estelle Homerstone who also produced the show) creating a safe space for women who need to reset, heal and more. She does this by combining her faith, as well as holistic means such as yoga to create a more inclusive experience for all who enter her venue. When a young accountant arrives as her latest patient, things change rather abruptly as secrets are discovered and past love is revealed.Whilst this is a great show that has a lot of potential to succeed with one or two plots to expand on, with multiple shows happening at the same time in other parts of Caravanserai and ambient music outside and only hand held mics for just the songs, this made it difficult to fully connect with the storyline, as the spoken script in between songs was off mic and sometimes faded into the background making it harder to hear at times what was going on. If headset mics had been provided, then it would have been easier to follow and not worry about having to really concentrate on all happening in front of us. If it had been performed in a normal theatre context, then this may have been a better platform for Run To The Nuns to showcase this strong, talented cast.Some great moments however were enjoyed from the cast. Such as the cute relationship between past lovers Orlagh and Kat (Eve Pereira and Izzie Winter). The connection these two was explored well as the plaster was painfully peeled off with elements of their past slowly bubbling to the surface. The trust between Pereira and Winter was extremely delicately handled and between them, we saw a relationship that had potential to work again if they overcame their own respective fears.Cat Thomas took on the free spirited Sage, who represented the holistic practices of the convent. She threw herself into the character fully and enabled her creative side to fully explore her comedic talent and physical prowess as she took on someone who is strong enough to follow her own path and be proud of it. Thomas is one to watch in the future for sure based on her flair for eccentric character such as Sage.But it was Homerstone's Doc that took centre stage as she embraced an equal balance of warmth, tough love and fairness in order to run her unique enterprise. She was a natural leader within the cast and raised our spirits in the best way possible through mindful comedy and song.With insightful original songs and colourful characters, Run To The Nuns has potential to go further with the right venue. One to look out for in the future.

Picture the scene.. 1930's Berlin. An underground club awaits an eager audience for the show to begin. A solitary German soldier in typical World War I uniform is on stage, hooking the audience from his simple presence while a cavalcade of sound effects, guns, bombs and more set the scene. Behind him is a simple projection that quotes part of the famous poem of the era - On the eleventh hour of the eleventh day of the eleventh month of 1918. Immediately we see his shell-shock and panic, setting the backdrop for a completely different scenario. We then switch to the heart of the play called Fabulett 1933. A show that is reminiscent of the infamous musical Cabaret with a duo of piano player and a rather fetishly glamorous Emcee, sharing his personal life as an artist and the life of the real life underground club 'Fabulett'. This place was home to those who identified as queer, lesbian, gender-neutral and anything in between during an era which was troubled due to same-sex relationships being frowned upon, yet at the same time was part of the accepted way of living when official backs were deliberately turned.Michael Trauffer creates this special show to celebrate these individuals who risked their lives to just be authentically themselves, as well as pay a subtle nod to those today who are wanting to be free. Using a mixture of fiction and fact, Trauffer pays tribute to real life figures who made a difference in this culture, including Dr Magnus Hirschfeld (also known as Auntie Magnesia to those who knew him well). Hirschfield was one of the first in his field to explore the idea of changing sex via surgery. Whilst this is more accepted today, back then Hirschfield was classed as the 'Einstein of Sex' as he explored this new territory. Our lovable Emcee does the same here by taking us through his troubled relationships with his parents when he first starts wearing his mother's clothes at the age of eight. Trauffer cleverly integrates several genres to indicate fragile mindsets of people of his kind, such as musical theatre, cabaret, Brecht and monologues using himself as the main link to connect with the audience. Whilst he brings the glamour, sass and magic of the Emcee to the surface, he gradually reveals what really happens behind the scenes of a performer of this kind. It's not an easy journey, but it's one we engage with on not just the entertainment factor (musically accompanied by James Hall). It's the strong, impactful emotional journey that is the real hook into his mind.With amazing outfits, songs and comedic timing, Trauffer and Hall make the perfect couple as we learn all the secrets behind the 'glitz' of this infamous performance space that closed in 1933 and what it's really like to be different. This is not just a show. This is an awakening.

Farrah Alice Black is not afraid to say she has lived through some of the most inexplicable events with honesty and a strong build up of resilience in her twenty-four years of being on this planet. Her one woman comedy stand up show Rambunctious Scallywag showcases Black's observational, quirky wit as she tells her life story so far with positive and joyful insight, giving the famous phrase 'If you don't laugh, you cry' a new lease of life. Black has a small audience of five at the time of review at the Junk Poets venue of Caravanserai, making her Fringe debut. On this occasion the audience seems to be a couple of older individuals who do not always seem to resonate with her journey, or the swearing during the set; and three young at heart individuals (including myself) who understand her plight as she invites us down a rabbit hole of being a local Brightonian from a humble upbringing, to being the president of the student uni, working for a charity, meeting Lorraine Kelly and more. She tells each story with such love, that even in the most negative experiences, you can tell she has not only come to terms with each one, but has grown from them. For instance, when she meets Lorraine Kelly during a time when she takes covid tests for a big conference, she paints a vivid picture of Kelly being the loveliest person despite all Black has to deal with. What we experience is a last minute panic as coffee is spilt and a small dog tries to get to it. Whilst speaking to Kelly, Black mops up the coffee with one hand and with the other tries to keep the dog away from the coffee! It is one of those moments in which you have to see the show to believe what Black has experienced in order to try and keep everything running like clockwork.It is a shame that this particular audience is a small one on this occasion, as Black's humour is not only positively cheeky and insightful, but extremely well constructed and performed. Maybe a later audience would be better for this upcoming comic, as 5pm tends to be a strange time for the fringe as a whole in terms of audience attendance. It runs the risk of missing out on someone who has clearly put a lot of time and effort into creating something that is engaging and extremely human on many levels that even the stoniest of hearts can relate to.Expect unusual dating stories - including 'chicken man' - drugs, odd work colleagues and more, as well as the occasional life lesson. This is not just a comedy show. This is a personal journey of acceptance and mindfulness.

Brighton Fringe seems to be going through an interesting trend at the moment giving characters from well known plays a voice, so they can finally have their say. This time, a new adaptation of Henrik Ibsen's classic A Doll's House comes to the Rotunda from Lavender No 9 in a lovely re-imagining by Stef Smith called Nora: A Doll's House. This time, we get to see three versions of suppressed housewife Nora in three different eras - 1918, 1968 and 2018. The same storyline is played out respectively, but the feelings from each version of Nora have a unique emotional journey, with a very different outcome based on choices made determined by the times they live in.Nora is an interesting character of Ibsen's, as she seems to be the one who on the surface is the stay at home mother, who has a positive outlook despite her silence when needed. Smith takes that silence and gives it the platform it needs to vocalize and physicalize Nora's suppression of her desires and needs and the fact she bends over backwards to make sure her family survives after her husband Thomas falls sick. In secret, she takes out a loan under her dying father's name and pays off the debt. But can she keep hold of that secret forever in a world led by men?The writing is reminiscent of Ibsen himself and has an element of modern musical Standing At The Sky's Edge (recently at The National in London) with the three different eras portrayed. Plus, the direction of Ella Green and Celia Helier is detailed, getting powerful performances from the four women portrayed. However, sadly the men let this piece down in terms of character journey, quiet vocal volume and an obvious line cock up that is clumsily rectified. It at times also seems one-sided with not enough grounding in the characters to really give the women something solid to react to. Despite this, Abraham Popoola (Daniel) and Etienne Ferenc (Nathan) show great promise as the show progresses amd they settle more into their characters. Ferenc becomes more confident as Nathan blackmails Nora through finding out her secret, whilst Popoola handles his own mental journey well as he discovers living through a life threatening illness. As for Ardi Sefre (Thomas), there are moments when he lets himself go in moments of condescending behaviour toward Nora, but if he trusts himself more, then a stronger performance will shine through.As for the women, they are the true strength at the heart of Nora: A Doll's House. All three Noras (played brilliantly by Annabel Hoskins, Chiara North and Alisha Conley) convey Nora's inner torment with such delicacy and passion that they bring totally different aspects to this overlooked character that we have never thought about before. Add to that Holly Hinchcliffe's vibrant and free spirited Christine to bring Nora out of her comfort zone and you have a quartet of women who have a great connection with each other. These four in themselves drive the play and are actresses to watch for in the future.

Edward Elgar's influence on the classical music world is one that is to be admired. From the humble origins of being a piano tuner's son, he turned to the world of music after learning to play both the piano and violin, as well as accompanying his father on some of his work. He took after his mother in his admiration of the countryside and a love of literature, as well as being baptized into the Roman Catholic faith, much to the dismay of his father. Despite the education and life experience he acquired, he always felt very much an outsider looking in - but it was that mindset that led him to create some of his acclaimed pieces. The series that is particularly focused on by writer and performer of The Enigma of Edward Elgar, Michael Lunts, is the Enigma Variations. A series that celebrates and sometimes parodies people Elgar and his wife Alice knew.Lunts plays Elgar in this insightful one-man-play as we catch him in a solitary, reflective moment having a one-sided conversation with his dead wife (spiritually, that is), whilst his daughter Carice looks after the dogs and the estate agent selling the house. Lunts deliberately writes it this way to fit in with the privacy Elgar treasured in his music room as he created his next piece. Only here, this is a sacred time that is part conversation he wishes he had with Alice, part musical recital and part confessional. It almost feels like we are intruding, but Lunts creates a space in St John the Baptist Church, Hove, that is safe and welcoming. Like we are privileged guests sharing a rare intimate moment.Performing in a church always runs the acoustic risk of losing some of the words if too much energy is placed in the performance text. On this occasion at the beginning of this piece, it does fall briefly into that trap when he calls to someone to make sure all is in order whilst he is in the music room, but soon settles into a good volume and rhythm once the initial energy has subsided. Lunts then invites us to experience some of Elgar's viewpoints on people and life through his music and what some of the initials in the Enigma Variations are.Two particular highlights stick out for me. Variation 1 C.A.E - Catherine Alice Elgar, his loving and supportive wife. We find out he wrote this with her in mind with the deep love they had for each other, plus that he had a secret whistle (used hauntingly throughout this show) to let her know he was home and his nickname for her was Carice (the same name they gave their daughter). The other was Variation 13 - ***. These asterisks protect the name of the woman he loved before he met Alice. To find out who she is, as well as the other characters referred to in the songs, The Enigma of Edward Elgar is one to be explored.

If you love interactive, immersive theatre, then The Grim is one to experience. The concept is pretty simple, but the outcomes are different based on the choices you make along the way. It explores the idea of what could happen in the afterlife after you have passed over, as the audience become trainee 'Reapers' trying to find a rogue soul who will not come over to the other side. However, it goes beyond such a simple storyline. Through the choices you make, you influence how the story pans out and how each character interacts with you. The idea of morality, consequence, time and choice are explored in a clever way as you are challenged in different parts of Brighton by many characters in a style almost reminiscent of The Crystal Maze as puzzles are solved and all the senses are explored with intimate creativity - such as meeting The Grim herself for instance. From the word go, power play is explored through the use of silence, playing with black sand on her desk and a stern attitude that reminds you of 'The Trunchbull' in Roald Dahl's Matilda. She is the one who sets you your task and puts you through your paces as she chooses her 'time keeper' by how you react to her words. You then move onto another room to meet White Horse, who explores how hearing when sight is taken away can prove very handy in becoming a true reaper, whilst giving the impression of how 'The Mad Hatter' from Alice In Wonderland would be if they truly went mad, before playing some interesting games with a mysterious, vibrant character called Red Horse.I won't give too much away as to what happens here, as each experience will be different for everyone, but every character you meet has such strength in their character choices and build their individual worlds so well that you cannot help but become involved with them and immersed in their stories.Quietly Fighting Theatre have a special show on their hands which is creative, has the right amount of challenge and great characters with which to experience The Grim in its entirety.

Lady Bracknell...a force to be reckoned with in Oscar Wilde's The Importance of Being Earnest. But what is her real story? This is something that December Hall Actors Theatre and writer, director, and performer Paul Doust explores in such immense detail that Lady Bracknell becomes more than just Algernon Moncreiff's aunt and Gwendolyn's mother. She becomes someone that the majority of people can relate to on more levels as a human being, using the inspiration and magic of Wilde's writing.The first thing we notice when we first enter the theatre is a simple set of a table clothed table and chair in luxurious velvet turquoise. On the table is the most exquisite bunch of flowers and a sophisticated glass and decanter set. The combination of these props and set create the lavish lifestyle Bracknell is used to, yet keeps everything focused on the one thing she loves to talk about: herself. We also hear in the beginning of the play the last few lines of The Importance of Being Earnest when the titular role realises his importance. However, the mood immediately changes when Doust slowly enters as Bracknell, commanding your attention in silence until she is ready to speak. What then emerges is an extremely powerful exploration of how Bracknell came to be, shared in an extremely candid, frank and hilariously charming way that pays homage to Wilde himself. Doust intricately pieces the clues together like a detective to discover Bracknell's humble beginnings, all from a specific clue in the original play in which she says quite clearly that she was not wealthy before she got married. So, why not make her a child who was poor yet full of ambition, with parents who didn't pay much attention to her? An extremely poignant line of note here is what Bracknell says after she reveals that she found loneliness freeing: "To show you care is weak!" This is said with such strength and suppressed emotion that you begin to wonder how much her mental health has really been impacted. Doust then takes us into a world of entertainment when Bracknell finds herself as a stage manager of a local theatre, toying with the idea of acting too, then meeting Lord Bracknell her future husband. Interestingly, the angle she takes before accepting his proposal is that she wants to enjoy the fantasy before the reality hits. This bold choice shows for a brief moment yet again the state of Bracknell's mind over time as it becomes fragile and an escapist of reality which Doust portrays so well, whilst staying true to the original character's observational quick wit.What Doust does so well in particular is weave an intricate web of deceit, doppelgängers and how she really knows Mr Thomas James Cardew... I however am not going to give this away, as to really get to know Bracknell, you are cordially invited to take tea and cucumber sandwiches as you have the honour of meeting her.Doust's performance of Bracknell is reminiscent of David Suchet's version from 2015 and is a masterclass in writing, performance and wit. This is definitely to be experienced to be believed.

A question that is a commonly asked when it comes to couples is 'Who wears the trousers in this relationship?' A strange concept to think of, but it is one that indicates someone who is a natural leader and in some cases, powerful. The use of who wears the trousers is the uniquely fun basis of Dietrich and Hartshorne, which explores the possibility of having two strong women in a small performance space - one very much alive, the other whose spirit is also very much alive despite no longer being here. Patricia Hartshorne created and devised this show to not only celebrate the life and career of Marlene Dietrich (a diva in her own right), but also to explore the underlying psychologial undercurrent of the idea of physically and mentally wearing trousers, giving a sense of power on and off stage.Hartshorne to begin with taps into the idea of playing with gender today after growing up in a world where women only wore dresses. People such as Dietrich and Bowie feature as her idols, as well as loving cowboy films. These and other events in her life influence her dress sense today and seem to bring a sense of empowerment to her performance that is carefree and subtly glamorous. Despite being thrown a little by a couple of sound cue issues which she breezily rectifies with no technician by her side, Hartshorne is a natural storyteller who embraces the stage as if it is her home territory; especially when she shares with us that sharing the stage with the spirit of Marlene Dietrich can be a demanding one when she takes over her mind and body. When she channels Dietrich herself, Hartshorne uses a very familiar spiritual practice of mediumship as a Brechtian way of inviting the audience to suspend their disbelief and enjoy a different energy in her performance. What evolves is not only a show that only Dietrich would do if she were alive today, but an engaging, informative cabaret style enabling us to learn more about her. If there are people who are familiar with this feisty, glamorous star, they will more than likely enjoy the familiarity in a more intimate and personal way; as if they are in Dietrich's presence. For those who are new, it becomes an eye-opening experience. We learn for instance that Hitler himself made Goebbels phone her to give her an offer which she couldn't refuse. When she did refuse it and became an American citizen, she was branded a traitor and had a price put on her head. This and many other controversial stories in her era that she shares are candid and honest and are worth listening to and enjoying, whilst being entertained. You may even be treated to the original German version of Falling In Love Again, which she preferred as it was more raunchy.This month, it is 50 years since Dietrich did one of her last performances in Brighton before she passed away. Hartshorne does a touching tribute to make sure this icon lives on forever.

So you think you know Great Expectations' Miss Havisham? Think again! Emulat8 Theatre brings an extremely bold and fresh new viewpoint to an iconic Dickens' character, who vows revenge on all mankind after being abandoned on her wedding day. In this version, we never get to see Pip or her ward Estelle, with the focus on her being forced to confront her past. How did she become the bitter, twisted person we have come to know so well? This is the question that the writer and performer of Havisham herself, Heather Alexander, asks. She, under the insightful direction of Dominique Gerrard, gets answers to the questions that are normally only hinted at.Through Alexander's complete immersion in this complex character, we see Havisham growing up in a world led by men that is at times confusing for the young girl as she experiences church, religion, literature and more whilst trying to find her place. With no mother to look after her, Alexander painstakingly shifts between the positively joyful young woman with limitless hope, due to inherit Sallis House, to the cold-hearted mistress we see in the original novel. Doing it this way highlights the fragile state Havisham has been left in, not only making all who see it understand why she becomes the way she is, but it gives the perfect amount of room to feel every single emotion that she feels, as the reflections become more and more difficult to handle. Alexander conveys these difficult emotions expertly without losing the essence of what Dickens originally created - especially through simple use of white sheets, wooden boxes and a book or two indicating her room, lost in her fantasy world, and her physicality as she shifts between a scared young girl trying to hide as she questions what being bad is and the stillness of a woman who is shut down emotionally.A particular highlight is the symbolism of Havisham's trauma in the Greek myth Medusa, which the young version of our heroine reads about, believing her an angel and drawing her for school homework. Medusa in the original myth was taken advantage of by a sea god and was unjustly punished for being 'a bad person', as she slept with him (the reality was she was raped). The transition between Havisham's journey of being in love with Compeyson, to being taken advantage of by him again and again is so heartbreaking that she in turn becomes her own version of Medusa. A horrifying reality, yes, but one that Alexander's sterling performance emphasizes, in turn encourages everyone to be on her side, empowering us to empathize in catharsis. This is a hard skill to achieve, but Alexander seems to unlock her own demons in Havisham, as well as her own angelic side and is a breathtaking sight to behold on stage.Powerful, tense, heartbreaking.

Wherever you are in the world, living on the streets is a bleak, harsh reality. Those of us without that experience tend to fall into the trap of believing what politicians and the media tell us without really knowing the full story. Amy Wakeman created The Streets of London in order to give the homeless a voice, which in turn showcases both sides of street living and how it is depicted using well researched facts and true stories recorded on her travels.Julie is a balloon seller who, despite her struggles with alcohol and trying to sell her wares, holds onto hope in the form of a deflated balloon she wears round her neck that her mother gave to her before she went into care. Whilst trying to sell her wares and sharing stories of everything she has witnessed herself - including gangs, drugs, and trying to date people in a similar situation - we also are shown, through a use of projected extracts from newspapers, letter writing to the prime minister and shadow puppetry, how we have been told to view events by the media. This staging encouraged everyone to make up their own minds about the truth.Although overall a strong piece, the first half of the play felt slow and the voice a little monotonous at times, despite an engaging energy in Wakeman's performance. However, as it all progresses, she settled into a good rhythm and we got more of a raw, honest performance, which helped to make Julie a better well-rounded character. The other thing to note is that occasionally the scene changes were too long, which meant that the energy felt like it needed to be wound up again before moving into the next section. Having said that, some might find it to be a necessary breathing space to take every bit of information in before continuing Julie's journey.The Streets of London is not afraid to explore this particular world for the homeless with a mindful, yet honest approach. Wakeman is also keen to highlight the fact that mental health is always a challenge and one potential reason that we see so much drug usage, drinking and more when we pass by is that it masks the personal hell the homeless go through every day. This in particular was a highlight, as it made us see how people can change in the blink of an eye due to trauma and more. Whilst mental health is talked about more these days, there is still a long way to go and Wakeman portrayed that well here, creating a safe space in which to talk if we wished.This play from Wooden Stick Theatre may not be for everyone for various reasons, but it does lift a lid on the stories we do not always see with integrity and honesty.

The Importance of Being Earnest By 3 F*cking Queens And A Duck is a fun take on Oscar Wilde's classic Manners Comedy, told from the perspective of three actors (the queens) who want to do something different with the play for a fringe festival when work dries up for them. What evolves is a show that is not only reminiscent of the famous classic film from 1952 with Edith Evans as Lady Bracknell, but an insightful masterclass into the different ways Wilde's plays can be performed when explored comedically.Outcast Theatre has the strong cast of Steven Dawson (Writer, director and flamboyant character Sebastian), Brent Thorpe (the ever frustrated Winston) and Liam O'Kane (the lovable Christian) and a plastic duck...How on earth does the duck feature you may ask; and what does it have to do with The Importance of Being Earnest? To be honest, the duck is a safety net for Christian after he steals it from the last show he did to calm his nerves. He insists he cannot perform without it and asks that the duck be ever present on stage whether used or not. This is a running sketch that could be made more use of to heighten the comedy to more abstract heights. As a suggestion, the duck could become other characters as the chaos of the play becoming shorter and shorter - thanks to the venue giving priority to those who could pay more to hire it - intensifies. It then would add another layer to an already strong piece of writing and performance to give it a little more edge.Apart from that, Dawson's direction enables all three cast to embody the spirit of Oscar Wilde as they in turn explore complex relationships and how manners go a long way in a modern world, whilst sending up the world of acting and theatre styles such as Chekov and Kabuki to establish the real voice of Wilde's masterpiece as a unique selling point. The energy and commitment to these lovable, but flawed characters is engaging, exciting and flamboyant. If Oscar Wilde was alive today, he would want to be performing himself with this dynamic trio and being a cheeky nuisance to stir things up a little. Especially as each word spoken is performed by all cast with such precision and comic timing that the audience are on the edge of their seats to see which characters from the original plays emerge. We can also see the intimate connection between Dawson, Thorpe and O'Kane play out on stage in a heightened and honest way, alongside the hard physical work that is put into it to bring them to life - including the ever formidable Lady Bracknells...to find out why there are many versions of her, come and see this show!Saucy, fun and full of Wilde's charm and wit in a modern setting, The Importance of Being Earnest By 3 F*cking Queens And A Duck is one for fans of Wilde and classical experimental theatre that is not to be missed.

If you had the opportunity to be your most authentic self... If you could excel at one thing for the rest of your life in exchange with the Devil for your soul, would you take it? This is is the concept that Third Pier Theatre's Daniel Hird (James Napier) and Jen McGregor (writer and director) explore in exciting new writing Old Bones. Four hundred years ago, Napier was constantly in his brother's successful shadow, until one day whilst in a bored, drunken stupor, he summons the Devil himself. After that fateful day when he wins a dice game against the keeper of hell, James Napier travels the world forever hoping to lose and finally rest in eternity.One might think that this is an overused concept of the Devil wanting your soul in exchange for something else; but here, Hird and McGregor turn the concept on its head by not only exploring the biggest price to pay - what would actually happen if you did win - but cleverly fusing fiction and real life historical events of witchcraft, devil worship and more with a small hint of immersive interaction with the audience to bring Napier's story to life.Using this kind of fusion is a huge risk, as well as picking on members of the audience to be part of the story due to the fact the suspense and mystery for a tale such as this can be lost. But it is not the case here. McGregor's writing is seamless, timeless and creates the perfect scenario for our lost narrator, beautifully blurring the lines between fiction and reality that nothing is questioned at all. The magic of her writing and her sharp direction of Hird's sterling performance heightens the supernatural elements needed to draw the audience in. So much so, if someone is chosen to join our protagonist on stage, again, nothing is questioned due to the powerful and engaging story telling prowess of Hird. He draws everyone in never missing a beat and has a strong emotional journey as he gradually lets us in to his ever lasting torment, as he discovers love, manipulation and more.The set is simple - a small painted picture of his brother four hundred years ago, a single wooden chair, red sheets thrown over objects such as a candle to create intensity and a pack of playing cards indicating gambling risks and a lust for throwing everyting to chance. Using these simple things, as well as Hird's charm and physicalised performances to indicate sea travel, nearly drowning and more, easily creates a world that fits comfortably between this world and the next. Not only that, the vocal dynamics Hird uses to weave a spell over us and keep us interested is engaging. Ranging between bitterness, happiness and sadness with the perfect amount of breathing space to comprehend the horror the Devil puts him through despite not always being present.Old Bones is a breath of fresh air with the right amount of fantasy, history, comedy and suspense.

Every now and then, during a busy period such as the Brighton Fringe, life can get hectic and even the smallest task can seem daunting. Wouldn't it be nice if we could get away from it all without leaving the city? The Urban Retreat with Jing Institute Of Massage in Brighton's city centre gives you the chance to switch off for three hours, whilst learning new skills in mindfulness. Run by co-founders Rachel Fairweather and Meghan Mari along with their current students, they create a safe and welcoming space, whilst enabling creativity and holistic healing.Due to the popularity of this particular retreat, there is a lot to process in three hours and at times does seem a little fast when taking you through each taster of yoga, meditation and beginner massage techniques. If you prefer something slower and more intimate, then it is recommended to come to one of their more detailed sessions. What balances this out is you are encouraged to take part at the level you are more comfortable with and no judgement is enforced. This in itself creates an atmosphere that is both relaxing and enlightening and makes you feel comfortable when exploring all on offer.In the Yoga section, under Fairweather's mindful and equally fun approach, we take a journey into finding our Vinyasa (flow) with some fun uplifting 'eighties vibes' as she calls the accompanying music. This is done in such a way that even if you haven't done any form of yoga in a long time, you find yourself enjoying everything and finding the empowering healing form of laughter emerging from some of her insightful jokes putting us at ease as each position becomes more challenging. You find yourself rediscovering the playful aspect to Yoga here, grounding and resetting the mind and body.This is then followed by a peaceful meditation session led by Mari to fully ground us before a break whilst they changed the room to become a massage studio. The words used are very reflective and create the space to take that well needed pause moment to reflect on where we are right now. The most powerful words for me I take from that section are 'how do you feel if I told you that you have everything you need to create happiness right now?'The massage techniques in particular are the most enlightening part of the whole retreat. Both Fairweather and Mari team up with the students to show us how massage when done properly uses the whole body, creating less stress on our shoulders, arms and hands. It becomes very clear why they include the movement and stillness, as by doing this, it enables a more flexible, intuitive and creative way to relieve pain, stress and more when both receiving and giving a massage. Fusing both Sports and Middle Eastern techniques, they create a system which is accessible for all levels of expertise.Urban Retreat with Jing Institute Of Massage is ideal for those who need mindfulness during fringe season and beyond.

Caravanserai at 10pm is an interesting time to have a show. If it's an indoors venue, you very likely would not have as many challenges to face as you probably would outside. In Twisted Tales case, they performed outside at the Under The Archway section of Caravanserai almost immediately after a DJ had played a set to some very drunk and disorderly audience members. Despite being told that a show was taking place soon as the set was finished, some particularly loud members of the audience talked through the show, almost spoiling it for others who couldn't hear some of what was going on. Plus loud music coming from other parts of the venue didn't helpDespite this challenging setup, Twisted Tales handled their setback with such professionalism and skill by bringing four classic fairy tales to life and added a Brothers Grimm flavoured darkness to it, but went further than the original endings did by exploring what would have really happened to Goldilocks had the bears been really hungry, what really happened to the woodsman in Red Riding Hood and did Alice really get out of Wonderland? But the main tale that was featured was a tale from Norse Mythology that isn't shared that much these days. A tale of a fighting Viking Warrior family, who descended from Odin himself. Every story was told not only with well constructed scripts that were simple and precise, but Box House Theatre used a simple set of a huge gym mat made into a huge fairy tale book and the most intricate usage of physical theatre seen so far this fringe. They obviously were aware that being outside in this particular scenario could go against them, so having taken the time and precision to create each set change and character by just using their bodies made it easy to follow and engage with the magic that was evolving.What would have helped them immensely to make sure their words were heard were mics. With physical theatre, it is not always logically possible to do this in case they interfere with the physical work involved, but if they had been provided with head mics, then the issue with not always being heard would have helped them tremendously. With their high energy, passion for the work involved, well rounded characters and a well constructed story using the arc of the actors finding the book of the tales portrayed, Box House Theatre are a hidden gem of the Fringe.

Don't Rock The Boat explores the idea of addiction recovery through the eyes of Daniel and Alice. Both sharing exactly the same journey in the same rehabilitation centre, but never seeing each other due to being on different wards. But also never always seeing eye to eye on how recovery should be. Using a simple minimalist Brechtian set of masking tape on the floor, marking out Daniel and Alice's rooms and a stool with some books and a tiny golden pair of scales that become a crack in the wall between the two rooms when turned round; what we see is the beginning journey of an insightful and powerful piece of theatre. Add to that the strong talents of Director Noah McCreadie, Louis Cavallier (Daniel and the writer of Don't Rock The Boat) and Ava Dodsworth (Alice) and you have a heart warming - if at times harsh - relationship that helps us get an insight into the backgrounds of how they ended up here together.Daniel has a journey that involves using alcohol as a means of escapism after his parents divorced in his teens. Cavallier seems at the beginning of the play to be a little detached from his character. However, as everything develops, we along with Cavallier begin to feel a connection to his reality. It soon becomes clear that that detachment is part of the escapism he craves. He has no faith in the system after feeling left behind. But emotionally he matures and gives a sturdy performance as he comes to terms with his actions through music and yoga therapy in particular despite his weaning-off symptoms trying to bring him down again. Alice however is a highlight of Don't Rock The Boat as a whole. For her, she believes in the recovery programme to the extent that maybe, without her realising it, she is hiding behind the truth that she was uncomfortable with going out into the world again. Dodsworth's performance is full to the brim of at times false positivity as she covers her anxiety, sharp comedic moments as she calls Daniel's reluctance out and intense emotions as she taps into the awful relationship she has with her father.Under McCreadie's direction, Cavallier and Dodworth are stars in the making and Don't Rock The Boat showcases them well. But a huge part of me wonders what would happen if it was made longer...it seems too short and leaves us asking what would happen if they ever did meet up in the real world? What uncovered emotions might be revealed if the two characters were cast as older actors? And how interesting would it be to see if they met up years later without realising it? Either way, this show has the strong potential to get even more powerful than it is now with some of the already suggested tweaks. Well worth watching if you however prefer a short burst of thirty-five minutes worth of theatre rather than the standard hour you see on the fringe circuit.

Women all have a vulva. This is not to be shamed, but celebrated. This is the powerful message from the cast of Wet. A cabaret show with a difference. One that fuses education, comedy, monologues, cabaret and dance to create a special evening that takes us through the many different stages of being a woman. From contraception, menstruation, pregnancy and menopause and beyond, every single aspect of the vulva was covered in a way that was not only entertaining, but educational and inclusive to all sexes.Wet had the fusional flavour of The Rocky Horror Show (at the very beginning in particular as the iconic film scene of the lips speaking was referenced with purple lipstick instead of red and a powerful monologue instead of the song Science Fiction), Eve Ensler's The Vagina Monologues and the cabaret outline with five female MC's smoothly linking every section together. With it being led by women specialising in many different genres of performance, the show had so many layers to experience. One of which was a saucy science lecture that explored Quantum Physics in relation to the female orgasm. This was a risky choice to make due to the possibility that the audience could have switched off at any given point. However, the lecture was not only intelligently portrayed, but it was naughty and suggestive without stepping out of line. Plus the ingenius usage of an abandoned cardboard box painted up to make it look like a machine that put science and pleasure together as their female volunteer stepped in to be experimented on with other saucy scientists exploring the scientific journey of what makes the vulva react the way it does. It not only gave the show a new dimention, but it felt like we experienced the journey with that willing volunteer, which lead to a more than satisfying payoff when it finished.This and other well constructed sketches not only entertained, but Wet had many moving moments as well. Such as a dramatic dance sequence that explored the relationship with the female body using nothing except a thin mannequin as a companion. It dared to show how all of us as a human race actually wish to be a certain way because of how things like the media, fashion and more subtly suggest to us. So much so, that relationship can become negative and destroy all confidence in ourselves, rather than being authentic. Also, a mother in the audience got chosen to be read a letter to. It celebrated all mothers and how amazing they were and still are. Although she was chosen, the way it was written was an extremely clever universal tool that reached out to all mothers, grandmothers, mums to be and those who naturally nurture others.Wet is not just a cabaret show. It's a hidden gem to stimulate us and experience feminine magic.

Brighton's South Laines is not just about cobbled streets, boutique shops, interesting pubs and restaurants. It is also richly steeped in history and is also well known for being one of the most haunted parts of Brighton. Ghost Walk of the Laines is a well established walk which seeks to unearth these ghosts through historical facts and entertainment, whilst giving you a tour of the South Laines. It does not matter whether you are local to Brighton, or visiting from outside of town, there is something for everyone.There are four hosts that lead the walks and depending on who you get, you always get a different experience each time. Rosa (local professional storyteller Marielle Holman) is our guide. She greets us with a warm friendly smile and provides a witchy aura to our tour with a long black dress and matching cloak. As the tour progresses, we learn from her natural storytelling style about the varied characters that haunt the Laines, such as the high ranking police officer with 'the mind of Poirot himself' Henry Soloman, who got murdered by a criminal who bashed his head with a hot iron poker whilst his back was turned. His ghost now haunts Brighton Town Hall and the old police cells underneath the building making sure Brighton remains safe. We know this by Holman's clear reference to local sightings of the ghost from security guards, as well as the hanging plaque marking his passing.As we walk, occasionally near the beginning of this expedition, Holman doesn't always wait before the group stops to continue her stories, but it doesn't last long as she settles in and gets used to the dynamics of her audience. A family of four is with me and the children ask a lot of interesting questions as more fascinating characters come out. Such as the hooded beggar, who was the real life equivalent of the Scarlett Pimpernell and the nun who was buried alive in the wall of the monastry for falling in love with a solder. Holman's strength to more challenging questions asked is strong as she acknowledges them and makes her responses appropriate for certain ages, as well as comedicically mindful. As she tells the stories, it is clear she is passionate about these ghosts and shows empathy for those who are the good ones, but when it comes to more ruthless characters such as a surgeon who was possibly one of the Jack the Ripper suspects that haunts the top room of The Cricketers pub, the tones changes to one that is reminiscent of Horrible Histories; one that has the right amount of horror, yet one that reassures children and adults alike there is nothing to fear and they will not be harmed.The walk ends on a note that is enriched and one of the comments fed back to her is one that sums up Ghost Walk of the Laines well; 'You kept us and my children engaged the whole time. You are a natural storyteller'.

Behind every object are eyes that witness life in a different way to us. What if those objects had a chance to share their stories? What would they teach us do you think? These questions and many more are explored by storyteller and musician duo David Head and Matt Glover in a new show that was a steady slow burner, but each twist and turn was intricately weaved and drew us in from the first chord.We were introduced to the stories via a customer who was looking for inspiration to write a show and stumbled across a strange shop that had an unusual business concept... it did not want any money, just an chance to give away some objects that were 'free to a good home'. The way this place was established had a haunting element that reminded me of the classic children's TV series Mr Benn, due to the way the shopkeeper invited us and the customer into his world. After encouraging the customer to tell him his story, he hands him a used notebook, telling him mysteriously 'That's the problem you see...a new notebook, no stories. What you need is something used...' From hereonin, the customer reads the stories that are in the notebook and discovers that the stories evolve from the objects involved. We met a part of an old ship being used as a piece of a ship in a bottle having witnessed a complicated parent and child relationship through the generations back to the days of being on a Pirate ship. A chess board that witnessed the breakdown of a marriage, a teddy bear that saw a family's life and questioned their existence and more.Each word that Head and Glover wove in their words and music slowly but surely reeled the audience in and peeled each layer of the onion away as we got to appreciate objects that we accumulate over time, but do not always appreciate. We had to follow it closely however, as there was one tale that revealed a huge secret. If you blinked you missed the magic. But I'm not going to reveal it here, you have to watch this show to find out what it is.A couple of small tweaks to add an extra bit of magic to this would be if some of the character voices were a little more distinctive to differentiate between each one. The personality changes were good, but just that little more of a shift would make these characters more rounded and alive. The other one would be to include the guitarist a little more in the stories as other characters (he is featured in one story as a specific character, but we wanted more).Head and Glover's combination of folk music and storytelling is a special addition to the festival and needs to be experienced if you love this particular combination of genres.

We have more than likely at some point in our lives, heard of music hall star Marie Lloyd. But have you ever heard of her contemporary Nelly Power? After this year, you certainly will know her name because of Marie Lloyd Stole My Life.It should be pointed out from the start that not much is documented about Nelly Power generally. However, due to the persistant research and tenacity of writer J.J Leppink, director Ed Barrett, performer Lottie Walker and pianist James Hall, what we saw was not just a celebration of Music Hall as a genre. It was an intriguing insight into someone who had been overshadowed by Lloyd's celebrity status, as well as a raw, honest take on life and the world of theatre. What we know for sure about Power is that she rescued someone from drowning, escaped an abusive marriage and won her divorce case (very rare for a women in those times to come out on top), became well known for the songs Don't Dilly Dally On The Way and the song that Lloyd stole from her; The Boy In The Gallery and died in poverty. She also had an upbringing that made her appreciate theatre and performing, as well as a mother who came across as someone who liked to interfere in Power's life. Putting these pieces together can be tricky, but Bluefire Theatre Company's intricate way of creating a show, showcasing what potentially could have happened in Power's life really drew the audience in not just via the writing, but by a very simple set up - including a keyboard covered with burgundy velvet, a table covered with the same material and very simple props such as playing cards, a book and more. This combined with an authentic costume that Power herself would have worn in female form when not in drag for pantomimes made us engaged with her story.In places it seemed rushed with some of the lines, but it was pointed out during the show that normally the full length performance has what may have happened during a set of Power's. Due to another show in the theatre, this had to be trimmed down and only got a small section of that Power song book at the end, which explains why it felt rushed at times. It would be interesting to see Marie Lloyd Stole My Life in its entirety to really capture the full picture of this incredible woman so sensitively portrayed by Lottie Walker. She played with the concept of breaking of the fourth wall to the extent that when she shared life and theatre advice with the young girl who came to see her, it felt like the audience became the young girl receiving this honest, down to earth reality about men, sexuality and who to trust in entertainment. Walker combined with the musical talent of James Hall brought the ideal combination of subtle comedy, song, friendliness and sensitivity; which in turn left us wanting more.

Taking the magic of classic Disney films and turning it all on its head was Dizney in Drag: Once Upon a Parody. The performers created a world of freedom for everyone, whatever race, gender, or kind of individual you are. The humour was clearly for adults from the word go, as The Hairy Godmothers guided a young prince(ess) through a whole new world of dating, love and relationships in order to find the one true love. This included adult toys, domination, drugs, the Dizney version of Tinder called 'Cinder', gender fluidity, and more. The atmosphere of fun – combined with lots of sassy attitudes – gave these well known characters a completely different side.It needs to be noted that the reliance on audience interaction means that the experience of each performance will vary. On this occasion, one audience member unintentionally messed up a joke due to placing a well known Australian beer into a glass instead of keeping it in the original can. The Hairy Godmother, despite being slightly thrown by this, incorporated it into the act and seemingly went into the next joke as if it was all simply part of the script. A visual pun, used regularly by all of the cast, required various objects coming out from under long circular skirts. Although it worked well, on the odd occasion it seemed a little too long to create the necessary suspense between objects. A slight tightning of this great sketch would have made it sharper and helped the story flow more smoothly on those occasions.Despite that, what we saw was a strong cast that made us laugh uncontrollably, cry as we engaged with our main protagonist's emotional journey, and learn (in a creative, safe way) about the many ways we can allow ourselves to be free with no restrictions. All whilst reliving the 'old school' Disney classics before Frozen came on the scene. All the songs retained their familiarity, but were completely revamped and sent up with a lot of love and respect from everyone involved. Some of the highlights included The Little Mermaid's Ariel using her siren-esque innocence to enhance her knowledge to become a dominatrix and learn about people through her own sexual power. We also saw Snow White become Ms White...By using certain substances, she was able to release her inner Evil Queen realness and empower herself to have complete self belief, whilst also wanting the crown. On the other side of the coin, not only was her death scene an iconic comedic star turn, she used it as a way to highlight the key element of a relationship...mutual consent! All of these elements together made her character extremely well rounded and fierce; unlike the original, she was no victim to anyone and was able to be her authentic self. Peter Pan likewise stood out due to him chanelling the spirit of David Bowie as we explored gender freedom in his grown up form. If Bowie was alive today, he would be best friends with this version of Pan for sure.Dizney in Drag: Once Upon a Parody was magical, humorous and educational - definitely worth the experience.

Lemonsqueeze Productions returns to Brighton Fringe with A Couple of Swells. A celebration of early 1900's music hall stars Vesta Tilley and Hetty King, who were two of a select few who made the art of drag kings a reality. Throughout the Great War, they kept the spirits of the troops alive through times of hardship and more by performing for them, writing letters and in Tilley's case, sending things like her old costumes, so the men could put on their own shows when not fighting. They may have had different lifestyles, upbringings and attitudes towards life and morals, but they had the common factor of the love of theatre that linked them together as two of the most forward-thinking artists of their generation.Sarah Archer (Vesta Tilley) and Emma Hopkins (Hetty King) take on these two challenging roles and explore the idea of them performing together for a charity concert sharing top billing (not that they are overly keen on the idea of course!). What emerges is a special night that brings the joy and the essence of the music hall era, using the strong combination of specially choreographed dances with the aid of local dance school MyCharleston, humorous yet frank conversations and classic songs such as Burlington Bertie and Following in Father's Footsteps. There is a moment in the show when both ladies do a section to help a modern audience understand some of the characters they portray via a reworked version of ZZ Top's Sharp Dressed Man in the style of Tilley and King. This explains why there is a small Addidas bag on the coat rack at the back of the stage which looks out of place to begin with, but the change from classic to modern style songs is so subtle that if you blink, you miss it. Whilst this works well, it runs the risk of spoiling the illusion for those who are more into realistic portrayals of famous characters. However, for a modern, younger audience, this enables them to understand the world of music hall and how it parodied life at the time in an accessible and sophisticated way.Archer plays Tilley with such decorum and class that not only showcases the privileged lifestyle she had, but by claiming she was one of the originals that started the trend of dressing as a man alongside Marie Lloyd and Nelly Power. Whilst this is true, Archer plays to the crowd, using this as an anchor to creatively 'shade' the newcomer of King to keep her in her place through comedy. Hopkins on the other hand fights back well by channelling King's comedic feistiness, but takes a more serious route when personally attacked by Tilley. She calls out how Tilley encouraged young men to sign up for their own death in battle. Archer and Hopkins cleverly use the rivalry to their advantage though, as they create magic in their set, engaging with the audience and clearly enjoying the experience.Using both different styles of comedy of Tilley and King not only gives a fantastic celebration of music hall, but an interesting exploration of life itself using entertainment as a platform.

Joyce Grenfell was a pioneer in British theatre, comedy and song. Most well known for her comic monologues and songwriting, she changed the way we see performance today and inspired many others to create characters based on her (Jean Brodie being an example). In this show inspired by one of her many performances, Cheryl Knight and Paul Knight joined forces, paying tribute to this inspirational icon. The first thing to note was the way that Knight made the whole experience feel intimate, despite there being a full audience. From the beginning, she made us feel like we were part of a selectively invited audience who were invited into her world. Grenfell was known for this style of performance and to get that intimacy immediately was well executed. Everything was extremely well researched and felt like we were seeing Grenfell herself, going back in time. From the simple set of a hatstand, rug, two chairs, a piano and simple costume additions, the spirit of Grenfell's style of performance was genuinely there. Knight's precise and detailed way she switched character with ease as Joyce Grenfell herself was mesmerising to watch. One moment we were seeing a school mistress with a sense of entitlement, the next a housewife who shared honest opinions about people and life.Complimented perfectly by the musical accompaniment of musical director and director of the piece Paul Knight, he embodied the spirit of her concerts well. Each musical note hit was joyful, light and atmospheric as Cheryl Knight sang with vigour. A particular highlight was the song Unsuitable, in which it depicted a plump older woman with a zest for life despite 'looking like an ass'. With elements of Noel Coward's comedic nods sending up society, it felt relevant to today, encouraging us to live in the moment and not worry about how we come across as we get wiser (or not!).Ode To Joyce was an enchanting performance that brought us back to a time when people like Grenfell were embraced. A slight bit of risqué, but observational comedy, with the dynamic talents of Knight Brodie at the helm brought a touch of class to Brighton Fringe and needs to be experienced to understand why Grenfell was a success and is still inspirational today.

Quest With Us is an interactive workshop with a difference. Fusing tabletop fantasy roleplay gaming with improvisation and theatrical roleplay, what emerged was an immersive experience that introduced newcomers to games such as Dungeons and Dragons in an engaging, understandable way. It also gave more experienced gamers a new way of looking at tabletop gaming, adding an extra edge to it all. With each game the players, under the watchful eye of the gamemasters, make decisions and depending on the role of the dice and the choices made, each outcome is so different and exciting.The game I played was under the direction of enthusiastic and detailed gamemaster Henry, who was not only supportive to the newbies and those like myself who have not played for years, but was engaging and comedic with his masterful storytelling skills for those who had quested before. To quote him, Quest with Us is 'Dungeons and Dragons, but more simple'. He was right. The usage of character cards with skills, advantages and disadvantages was a good leaping point to create characters who appeal to you as a player. You can create an elf, halfling, occultist, demon and more with a lineage that makes you stand out from the rest. I had fun creating an occultist with a witchy lineage and interacted with many amazing characters and it felt like we were creating our own fantasy novel during the game.Having a drop-in and out system for this worked however, what might make this tighter going forward is having more of a staggered system with different timings so that the risk of repeating who your character is is lessened. This did happen on the game I was on and whilst it does reinforce who your character is, occasionally it might halt the game somewhat when you want to move onto the next exciting chapter. So having a set staggered system of times so that the games in progress are not interrupted might help this fantastic style of performance and workshop combined become even stronger and dynamic.Apart from this, what we have here is an experience that is fun to be had whether you are new to gaming or not, an actor looking for character work with a difference, or a writer wanting inspiration for their next novel. Quest With Us gives you that safe space to play, create and enjoy roleplay on so many different levels that time whizzes past so quickly.

Porn is a form of entertainment that has always had mixed reactions, yet brings a lot of pleasure to many individuals. But what is the reality behind this popular industry? The Last King of Porn explores the reality behind it all - especially sexual exploitation. In this drama, porn star Randy wants to achieve the biggest record in the world - to sleep with 100 women in 24 hours on film. We see what happened in the green room as three women wait their turn anxiously, testing the patience of the runner.As a four handed piece of theatre, the performances themselves were fascinating and insightful to watch. As we catch a glimpse into the three women's lives, we see a world of secrets and what they had to do to survive as they shared their experiences with Randy. The first woman in his life, the 'love' of his life and a young girl claiming to be his daughter, wanting to get close to him. Every one of them held the audience's attention as they shared their stories and clashed with one another wanting to be the best person there. The strength they showed as walls came crashing down slowly around them was particularly strong - especially when the frustrated runner on the film revealed a story of his own with Randy. This was cleverly revealed during the emotional chaos that evolved as these unlikely people gradually found common ground with one another.What does let this show down is the writing in places. All the stories portrayed were well intertwined, but sadly there were still some loose ends that needed to be tied up more in order to make it an extremely strong piece of writing. An example of this was when the young girl eventually met her father on set. She seemed to just emerge after the experience and not say whether she told him or not. It would have been nice to get some closure on this particular story as we followed it.Apart from that, the whole experience from start to finish was insightful, emotional and felt like we really connected with all four characters on their respective journeys. There are adult themes in The Last King of Porn and are not suitable for those of sensitive dispositions. But if you like dramas with a comedic slant, honest characters and honest writing, then this might be for you. 

The Little Prince by Antione De Saint Exupery is a timeless classic that enables children to safely and creatively explore the idea of things coming to an end and that there is life after death in spirit. Sam Chittenden and Simon Scardanelli's musical adaptation is not only extremely faithful to the original tale, but the careful planning of the beautiful spectacle of a showdown to the finer details of including the original drawings from the book was so well executed that those who knew the tale well were crying with joy and heartfelt emotion from the moment the aviator started narrating his journey with The Little Prince. Those who didn't know the tale were also able to follow the story well due to the simple and magical way each cast member brought the characters to life.Jake Snowden played our Aviator and demonstrated not only an engaging singing voice, but a natural skill for storytelling as he took us on a journey of the heart, as we experienced through the clever use of flashbacks what he learned and explored from his time with the prince. He held the audience as he showed his vulnerability through all the tales told and reflected with such warmth and love that it was not hard to connect with Snowden. Rosa Samuels took on the child-like curiosity of The Little Prince with such joy and lightness that the audience started questioning life along with her. As people, it is possible to get so caught up in the noise of life and responsibility that we as a race forget how to appreciate the small things that create happiness - such as the stars, grass, roses, nature and more. Samuels enabled us to reconnect with those aspects of life as the show progressed and was able to encourage us to think carefully about things as she encouraged us to switch off from life for a while and question along with her. That is a hard feat to pull off, but the fact she was able to connect with the audience no matter what age they were was a triumph.Finally, Katey Fraser and Mark Beauchamp took on the remaining supporting casts with ease and confidence. From a busy businessman who counted the stars, a geologist, a fox and a snake, they changed characters easily and were entertaining with it. Fraser's Fox and Beauchamp's Snake in particular were major highlights from the show for their playfulness and a subtle nod to Kaa in Disney's version of The Jungle Book.If you are looking for something that is enchanting, entertaining and thought-provoking, The Little Prince is the show to watch. It is joyful, emotional and magical.

Kat Carson is a woman on a mission. To encourage conversation about the role of women in Shakespeare's plays and how they are portrayed. From the most misunderstood female, to the most complicated, Mistress, Maiden, Monster explored three of Shakespeare's women through the use of a masque - a form of entertainment that was popular in the 16th and 17th Centuries that involved acting and dance to tell a story and showcase characters that resonated at the time with a mask being worn. Here, Carson adapted this now rarely used format (sans mask) to bring to life three Shakespearian ladies that are totally different from each other, yet extremely relevant to today's culture.Each character had a musical introduction from a lute player, as well as a song or two to start easing us into the themes of each character before a short summary to let the audience know who these women were. Beginning with Desdemona from Othello, Carson captured the feeling of being trapped in a situation where Desdemona was being targeted by her husband and Iago for being unfaithful when she wasn't. Whilst she is a pawn for Iago's jealousy, here Carson brought her plight to the fore in a way that made us think differently about her and her plight as she remembered a song her nanny used to sing before she died.It then moved swiftly on after a carefully planned costume change to the role of Katharina in The Taming of the Shrew. One of Shakespeare's most complicated characters who is the majority of the time portrayed as someone who is humble at the end of the play despite being feisty and strong for most of the action. However, Carson subtly introduced the idea that she was still the same person, but a more toned down version of herself. This made the idea of the 'Shrew' more interesting and fascinating to watch, due to her now being a more refined version of herself in order to survive in a man's world.Finally, the love struck Viola from Twelfth Night was the highlight of all three characters. The love the audience felt from her as she allowed her vulnerability to show when Orsino didn't show her the same love as she did for him (despite being disguised as a boy to survive). She also was not afraid to show her curiosity and genuine shock as Olivia fell for 'Cesario'. By doing this, Carson tentatively explored the idea of gender exploration and how Shakespeare may have been ahead of his time when writing this play in the sense of finding individual sexuality and where we may feel comfortable. Mistress, Maiden, Monster is an exploration of Shakespeare like no other and we were left wanting more.

The Paramedics was inspired by an innovative idea by director James Burgess, who was a paramedic until five years ago. Turning to the world of entertainment and using three actors, Burgess collaborated with them to create something that at its heart was authentic, but strong enough to put first aid and comedy on the same stage.The Paramedics follows a 'dynamic' duo called Chris (Jack Lumb) and Tiff (Ella Baulcomb), who are 'not seeking fame' (despite being on a recent TV documentary), but taking what they know about first aid to the masses with the aid of a medical actor called Paul (Daniel Carlin) to get people up to speed when it comes to injury, childbirth and more. Under Burgess' direction, the energy between all three actors was not only electric, but every pun, joke and deadpan reaction was spot on. The laughs had whenever things went wrong - such as Paul having to demonstrate giving birth on stage - was high and the majority of the time ended up with the audience rolling in the aisles. The icing on the cake was audience interaction in the form of a training video in which we had to give the answers in multiple choice. How chaotic did it get? You have to see it to believe it!Lumb and Baulcomb had an electric connection that was exhilarating to watch as each stage of the presentation evolved. Their physicality and improvisation skills when going off-script were so strong that you never wanted the experience to end. Each delivery was so fast, direct and cheeky that they became likeable even if chaos did ensue.As for Carlin, he played two characters. Paul, the medical actor, trying to get his career back and a victim who was saved from a fire by Chris and Tiff. As Paul, he exuded confidence and was not afraid to take on many guises - including doing part of the famous Oh that this too too solid flesh speech from Shakespeare's Hamlet using a doll's head to represent Yorick. By doing this, he took his Paul character to another level in order to fully redeem himself as a performer. Later, when he played the fire victim, his skilful ability to completely change accent and character to tell his story was noted and again, entertaining with the right amount of drama involved.The combination of these skilled actors and director created a show that was perfect for both comedy lovers and people in the medical profession.

Twisted Tales was a power packed two-hander show from Owdyado Theatre that took the idea of the thriller genre and turned it inside out by twisting it into two deliciously dark plays with a comedic twist. The hour whizzed by as we wondered why a man was obsessed with someone who left him all alone and how far two children's presenters would go to not get their show struck from the TV network.Daniel Richards and Charlotte Bister teamed up to create a dynamic force that not only entertained, but made the audience gasp in horror as the dramatic moments unfolded in a beautiful 'performance venue within a venue' - that is, a circus tent within One Church in Brighton. Using this type of space in this way not only made the show more intimate, but created an interesting metaphor for the phrase 'life is a circus' - made famous originally by the cartoon character Charlie Brown - especially when the more dramatic moments became more intense and heightened.Richards channelled his inner Jack Black as he took to the stage firstly with an extremely intense character that drew us in with his loud and upbeat behaviour that got us guessing as to what could be wrong with him. A very child-like character who wanted validation each time from the lady he lived with, did strange things like going to the toilet in different parts of the house and happily awaited with excitement for something that was 'not to be mentioned.' But in the second piece switched to playing ultimately two characters - a positive children's TV presenter, who voiced a blue bear hand puppet with a deep voice that sounded a little out of place. However... as this one progressed, the bear took on a character of its own thanks to Richards' efficient and swift changes that kept us engaged.Bister on the other hand took on roles that complimented Richards well. In the first piece, she showed her frustrations towards this child-like character as she came back from the office and kept trying to write her report. The way she treated him came across in the first instance as dismissive and angry as she was constantly challenged with everything that happened at once - such as him sniffing her in unusual places like her knee and knickers. Then it changed to her ignoring him as she chatted on the phone to a friend about her day in the office with her crush. In the second piece, her presenter role was upbeat, yet strange as she gave arts and crafts a new twist with creating ransom notes for someone and encouraging negative behaviour towards a sibling. Behind the scenes, her off-screen persona changed to someone who was damaged and vulnerable as she and Richards tried to deal with moving a body they had very recently killed. Both Richards and Bister handled their roles so well, that when the twists in the tales were finally revealed, they left us wanting more.

Psychic Stu takes on the world of fake mediums and not only stands up for the holistic world, but unwittingly educates others on what to look for so as not to get conned.Alongside his compère, Stu bounded onto the stage with vibrant energy, ready to connect and entertain his intimate audience. It was clear that he had done precise research on how mediums work on 'platform' as they demonstrate their abilities to an unsuspecting public. From the mannerisms when they interact with spirits to how they interact with an audience - for instance, the well known phrase 'can you take that' when a piece of information comes through. From a comedy perspective, whether he realised it or not, he parodied what happens when mediums become generic with their information. Whenever an audience member reacted to what they gave him, he invited his spirit guides Mary and Will into the room to give their take and added another layer to the routine by making the information more generic, finishing with his witty catchphrase 'Earthy Blessings! Namaste! Nana’s Dead!' to a room of laughter. The only risk to this sort of comedy however is if there is someone in the audience who takes this kind of show seriously, so if you are looking for genuine guidance, this is not the show for you.What made this show special however was the journey of Stu in real life. When not doing comedy, he specialises in Reiki and brought special touches of it into this show, making it more grounded somehow and not a one-sided show with no genuine touches of spirituality. It also encouraged him to experiment with how we view chakras and more, which was influenced by the audience at the time. By doing a show such as Psychic Stu's Comedy Stand Up Show, this encourages discussion and a deeper appreciation through the power of laughter what mediums go through, fake or genuine. Touching, cheeky, risqué in places and sensitive, Stu brings a unique slant to comedy that is non-offensive to those who believe and engages non-believers equally.

The Breakup Monologues is an award-winning podcast from comedian Rosie Wilby, which has been brought to the Brighton Fringe for the first time ever. Recorded in front of a live audience in the beautiful Spiegeltent, the show is a rich, colourful one that fuses comedy, mindfulness and in-depth conversations with three guests sharing their own experiences with heartbreak. This inspiring fusion format deeply connected with and entertained everyone in the audience under the watchful eye of Wilby. She, from the word go, was a charming host who set out to educate and entertain through her honest and witty observations on love and heartbreak, as well as ignite magic from her three guests of choice on the panel that evening.The panel consisted of Zoe Lyons, Hal Cruttenden and broadcaster Bibi Lynch, who between them, despite being at different stages of their own respective journeys, shared some insight, wisdom and comedic quips along the way and were able to connect with each other in ways that were unexpected and delightful.Lyons began the discussion with her recent breakup and tentative reconciliation with her wife. Her style of comedy is usually sharp and to the point, but here she was brave enough to say that she had a part in the initial breakup during lockdown after looking at herself and her well-being more carefully than usual. She seemed very grounded as she candidly spoke about being in therapy and the hardships she went through during the separation - including staying in a friend's garage in the New Forest. Seeing her transformation talked about in this manner showed a different side to Lyons that made us appreciate her all the more if we were familiar with her work, but also introduced newcomers to her with ease.Cruttenden was next as he shared his recent raw experience of going through a divorce with his wife after 21 years of marriage. At the time of reviewing, he was in his seventh month of splitting up, living in the same house as her and both parties had split mutually. His style of comedy seemed more vulnerable than the others as he quipped about the joys of living under the same roof as an ex and discovering new things about himself as a person. He openly shared that he was building a new relationship with his daughter and looking forward to finding himself again, comparing his present self to the desperation of being accepted by women in his youth, showing his growth and sensitivity within his self-deprecation.Lynch showed a different perspective to breaking up with someone the day after Princess Diana died and not having a relationship since then. Her wit was more acerbic as she discussed having high standards that were unobtainable by potential partners and dating people called 'Frank' as part of a podcast series she did. Likewise, she was honest about wanting to find love as she got older, but at the same time shared the frustration many people go through of not being able to find love at any stage of their lives. But the big highlight was when she and Cruttenden began the shortest relationship through banter ever! To find out what happened, check out the podcast.The Breakup Monologues needs to be brought back to Brighton Fringe next year, as well as other times throughout the year. Funny, honest and real.

A Substitute for Life was a different and exciting take on a Victorian thriller, as we were introduced to Francis Kentworthy. A man who grew up in a very brutal way at the hand of his father and isolated himself via the freedom of reading. By losing himself in different worlds created by writers such as Wilkie Collins, Jane Austen and Robert Louis Stevenson, he was able to feel safe.Tim Hardy took on this challenging role as he sat at a desk by candlelight surrounded by and books looking back at his life. Each word he spoke was reminiscent of Nigel Hayes' velvety voice as he invited us into his safety zone of written words, as well as the harsh reality of how he grew up. This also included having to wear, as he went into adolescence, his own painful chastity belt to stop him thinking indecent thoughts. Each stage of his life that Hardy shared with us was so moving that we wanted something good to happen to him, but we were not expecting a shocking twist.What was particularly fascinating to watch was when Hardy switched quickly from one character to the next, differentiating each one with ease and characterisation that was so sharp you wanted more. Even when he played Kentworthy's father, it was clear to see from the menacing tones and anger that this person was one you needed to avoid if possible. Hardy makes sure that each word is heard no matter how much calmness is needed, or a growling vocal. Under the detailed and precise direction of Alison Skilbeck, what emerges is a dynamic performance that was a masterclass in the art of character acting. It was engaging, vibrant and we sympathised with the desperate need to escape. As Hardy stated, as Kentworthy grew up, he loved finding out each twist and turn at the turn of a page. But when he re-read them, it became a deeper appreciation. That appreciation shows in the action as it progresses and gets more and more integrated with each event that occurs. Hardy kept the audience on the edge of their seats and delighted us with a really well-rounded character and detailed research of the era from the books used, to the desk, candlesticks and more. This was a beautiful show that made us feel part of the whole experience leaving us wanting more.

Ivor B Gurney and Marion M Scott had a very special friendship. Both creatives in their own right (one focusing on poetry and song, the other music), they made waves during the First World War in their respective fields and changed the way we view the arts today. Gurney, after being accepted into the Royal College of Music in 1911, then fought in the Somme and became well known for classics such as The Immortal Hour and Under The Greenwood tree (a beautiful interpretation of Shakespeare's iconic speech) before being gassed. This affected his brain and eventually, after many illnesses died in 1937 in a mental asylum. Scott, after training at the same place as Gurney, went on to not only formulate a friendship that would last a lifetime, but became a fighter for equality in women's rights to perform in an orchestra, as well as a critic of music after stepping back from performing herself.Taking on the role of Scott in this moving and extremely memorable show Author, Composer, Soldier of a Sort is Jan Carey, who also wrote the play. She portrayed Gurney as Scott would have seen him in a subtle nod to Alan Bennett's Talking Heads as she invited us in to her world as she knew it through intimate monologue. Carey not only played Scott, but effectively switched to Gurney, taking on his mannerisms and jollity through the letters he wrote her and insightful poems about the way of life through the eyes of a soldier, as well as how love needs celebration. She powerfully used stillness and silence at times when needed to reflect on all she said. This was skilfully aided by original recordings of his songs as she sadly looked out at us in contemplation - especially when Under The Greenwood Tree and Severn Meadows played, giving the play a dynamic that moved us to tears at times.What makes this piece special is the way in which Carey keeps everything simple, using just the surroundings of a rug, a desk full of and surrounded by books, and a chair when playing Scott. But when she becomes Gurney, it is shown with a simple shift of the lighting from a general white to a light pink/purple that cast shadows at certain angles when it came to a moment of despair. This simple use of lighting provides a different focus, as well as indicating the sensitive state of mind he had at the time, which is extremely well portrayed by Carey.Author, Composer, Soldier of a Sort is a masterclass in how through a person's intimate thoughts, we can get to know someone like Gurney and Scott well, as well as being given insight and a view into a world of performance that seems to be so easily taken for granted. 

The Huns is a fast-paced and (at times) chaotic examination of what can happen in the workplace when something goes wrong. On this occasion, a burglary takes place the night before and three work colleagues battle the technological troubles of a communication tool such as Zoom in order to get across some potential safety updates to protect themselves and the company going forwards. When an unexpected revelation takes place, all is set to change for good. How will they handle this outburst?The first thing to note is the confusing title of The Huns. When seeing it for the first time written down, the immediate reaction (especially for Disney fans) could lead to thinking that it's a different perspective of Mulan where the Huns feature. But when you get beyond the initial reaction and look at the storyline that unfolds, we forget that first reaction and get hooked into the action from the word go. What is also interesting is that initially it starts off as a strong comedy, but as the characters get more and more manic on the Zoom call with the CEO not being there - it seems harder to work out until halfway through whether the audience should laugh or not. Until this particular revelation occurs, it changes from a zany comedy to a well examined look at how mental health in the office tends to be treated in a negative way. This in turn led to an appreciation of the strength of each performer as they effectively switched from one genre to another.Jamie Cavanagh, Breanna Dillon and Cass Van Wyck take on these three co-workers with very different lives. The man who is desperate to leave to go on his stag do (Cavanagh), the head of the team who is so efficient she doesn't sleep (Dillon) and the new temp who has her own issues (Van Wyck). Together they tackled this challenging script well and share a wonderful rapport. Cavanagh showed the frustration in having to be there at the meeting when called in early for witnessing the robbery and held his own as he was outnumbered at several points by the equal frustrations from both women as they kept telling him to leave. Dillon portrayed her character with an energetic false positivity and extremely driven focus as her lack of sleep affected her gradually as things progressed, making her interesting to watch. Whilst Van Wyck showcased some strong work as she tried to keep everyone grounded without thinking of herself.The Huns has strong potential to be a play that will go far after the fringe. 

Heather Alexander lit up the stage as she portrayed one of the most fearless female writers in history - Virginia Woolf. Room explored, via the use of inner thought during a lecture on Women and Literature to a group of women wanting to take the leap of faith into writing, as well as live musings to support her arguments. Based on the novel A Room of One's Own, as well as experiences Woolf had in reality, she passionately challenged the perceptions of women being poorer and less intelligent than men who were wealthy and had more experience when it came to a creative life. Alexander embraced the character of Woolf with such dexterity that her observational explorations of the injustice that women suffered through history became alive with enough life experience to challenge even the most egotistical of men. As she took us on her own journey, with putting the lecture together, observing how women were treated as people (including domestic abuse), it becomes clear that all the work and research that has gone into achieving a character as formidable as Woolf has paid off. The emotional journey has enough ups and downs to keep us engaged as she compares her own to current writers of her time, as well as classics such as Charlotte and Emily Bronte, Jane Austen and the lady who began it all - Aphra Behn.Some of the flashbacks she had as she came away from the lecture to paint the scenes for the students used recorded voice-overs as a way to highlight some of her inner dialogue. It did take a while to grasp this concept, as to begin with it didn't seem clear whether the lecture was continuing, but in voice-over. But as things progress, it becomes clear.What was particularly intriguing about Alexander's performance was the way she used stillness as a way of drawing the audience in during some moments in the play. It was lovely to see stillness being elicited to draw our bated breath, waiting for what she'd say next. At times it seemed like a power play so that Woolf could indicate without saying that she deserved to be listened to. It reminds us that whilst some plays need pace and energy, here the silence balanced out her more energetic moments, making her performance more rooted and engaging.Room had all the right ingredients when it came to portraying this strong feminist and left us wanting more.

The Silver Bell explores loss, grief and the collision of spirituality and science. What if you had the chance to explore different universes just to see if you could find that one person again? Using this unique concept, Alan Flanagan and Brendan O’Rourke took to the stage using two chairs and a mixture of narration, conversation and simple physical theatre. The story told was heart-warming and moving without the need for anything else, just words and each other.When scientist (sorry, doctor!) Mico met aspiring actor James, it started with a nice comedic moment of a finger being placed in a drink. Like most couples, they had their ups and downs, meeting some interesting characters along the way - such as their vibrant landlady who seeks friendship after putting out a call for a gay man to share a house with. Then James was diagnosed with Motor Neurone Disease and that was the end before things really began. The simple and direct way that Flanagan and O'Rourke tackled this sensitive subject was not only well handled, but explored in such a way that it had the appropriate respect and a subtle comedic touch. An example of this was not long after describing the reality of what was needed to look after James, we learn his mother had nicknamed it 'the falling disease'. Using those three words was both heartbreaking, yet at the same time, the light humour of that phrase brought a grounded sense of humanity to the proceedings. This encourages empathy with those who have experienced similar pain and gives those who have not greater awareness.It did take a while to realise that there were many James' in many universes as the play progressed, but once we got used to the subtle way that Flanagan and O'Rourke use narration and conversation to depict this, what evolved was an engaging exploration of life after death. The amount of research that had clearly gone into the piece to make everything more believable was interesting to explore and to watch. Scientific facts and spiritual beliefs made the potential of universe hopping possible that evening and left us with a lot of food for thought.Did Mico find his original James in The Silver Bell? Jump on board with this touring theatre piece and find out for yourselves.

From the same dynamic duo behind Tougher than the Train, here we have an interactive comedy show for adults with Valhalla Calling. The premise is a simple one - a Viking realises what a barbarian he has been and changes his ways, to not only better himself, but help others along the way. But when his past confronts him, it's down to him to make the decision whether to stay on the path he is on, or embrace his true destiny. Elina Oittinen and Sigmund Fosli Lillefjæere created something that was not only comedic, but holistic. Drawing on his experience of meditation and yoga, Lillefjæere creates a very different version of his Viking character Sigund. Unlike the clowning techniques used in Tougher than the Train, in this show we are treated to more audience interaction, props that kept deliberately falling or breaking and a more relaxed character than previously seen. The way he kept challenging the audience's views on spirituality from a Viking's perspective is not only fun and playful, but kept everything simple so he could bounce off everyone's reactions with ease and with a spoilt child-like quality that was charming. His partner in crime, Ottinen, is the long suffering assistant to Sigund. Her blunt comebacks to Lillefjæere's antics while she despairingly watched from the sidelines with the light and sound technician reminded me of Rowan Atkinson's Blackadder - especially when she calmly and sarcastically throws out some blatantly honest comments to get him to calm down - such as telling him the truth about Vikings actually being farmers and workers of the land, not just the barbarians traditionally depicted. She gives the show balance and backbone when things become interesting - especially when at one point he got us to give him our land as part of a confidence technique. Rather than land, she sets the tone when she throws her trainers at him, encouraging the audience to do the same. Valhalla Calling was a very strong piece of Finnish Clowning Theatre, despite it being billed as a work in progress. If you love alternative comedy, clowning, Vikings and a holistic way of life, this one is for you.

Today, when we think about sexuality, we tend to see broad (but not total) acceptance and can at times take it for granted. After watching Unmasked Theatre's A Very Great Mischief, which focused on a lesbian couple wanting to find acceptance in the 1920s when it was illegal, we are reminded of the great struggles of the past that paved the road for the acceptance of today.We were introduced to Victoria, a flamboyant young writer finding her way in the world with her Parisian girlfriend and muse Celeste. From the word go, it is clear that their connection as a couple is deep and comforting to watch. From the way they lovingly held and doted on each other, to the subtle and light touch of the other's hair, we are immediately engaged with the journey ahead - especially when it came to telling their parents about their relationship. The way the characters explored love and wanting people to accept who they are was touching, sweet and affectionate and we root for them. Even when the sensible sister entered the equation and guessed they were 'queer', the dynamic of these three characters is engaging, now having a strong ally in the camp, keeping them on track. Each performance from this triangle was energetic, dedicated and worked so well together on stage.The vibrant, yet sensitive and supportive writing from Harriett O'Neill not only made this play come to life, but the research made into the set, costumes and hair of the 20s was so well carried out that the audience thought they had transported back through time. Even when Victoria's parents were introduced, it was clear that they had very different ideas when it came to homosexuality - especially the father role when depicted via Victoria as 'wanting the slave trade back', blatantly stating that this was going to be a struggle between past thoughts and ideas, as opposed to how the young saw things then. This was portrayed extremely well as silence was used in this particular coupling, illustrating stoic discomfort.The only suggestion to be made here is to address the occasional imbalance of silence and fast-paced energy. Sometimes the pace was so fast that we didn't have a chance to laugh, or it dropped so much that we weren't sure whether to laugh until a well-timed line came in from Celeste and Victoria out of nowhere. With a slight redress of this balance, this play would be absolutely perfect.A Very Great Mischief was colourful, vibrant and full of sass. A hidden gem.

Medico brought a new twist to a one woman stand up comedy show by bringing a medical slant to the proceedings. Dr Stefania Licari made her comedic debut with this special show based on her own experiences on the frontline and finding love in the minefield of being an Italian doctor in the UK. By using real life experiences, it made Medico an experience that was part medical lecture and a confessional, with saucy humour in places adding a layer of humanity to the show.Licari creates an alter ego for herself called Dr Anna LaRosa, who has a pleasant enough nature, but the passionate fire of a bull. She invites us into her world and compared Italian and British traditions with style, using a small set that includes a medical skeleton, a patient bed, a catheter and more, all utilized with ease as she flips between her personal life her journey as a doctor. The way it is done is subtle and to the point, as she shows via her comedic suggestions the way the medical profession can work, yet crossed over into her personal life as well. At times, some of the medical terms she used within the jokes fell a little by the wayside, but she managed to pull them back with a winning smile and cheekily stating that it was a medical joke, which made us laugh heartily from here on in.What made Licari's style of comedy different from many shows of this nature was the way it was constructed to include drama, comedy and risqué humour with a strong storyline, and the amount of research that went into the whole experience. But it was the characters she came across as lovers that really made things come to life as she balanced life and work on stage. A particular highlight was a blood doctor who had a deep voice due to a nodule in his throat, which drove her wild with desire until he had it removed. As she did with all her lovers, she finished the relationship with a clever repetitiveness of the phrase 'Basta! Basta! Finito! Finito!', making her extremely memorable.Medico was a never-to-be-forgotten experience for the right reasons leaving a newfound appreciation of what doctors and nurses in both the NHS and private sectors do for us.

Clownberry Theatre enchants adults and children alike with Tougher than the Train - an experience that explores the idea of being tough versus playful through the usage of audience interaction, clowning and circus skills. A Viking tries to prove the effectiveness of being tough and brave through many daring acts with a comedic twist, making it all about him. Meanwhile, his faithful frog companion wants to share the limelight so she can do her hula-hoop act.The dynamic duo of Elina Oittinen and Sigmund Fosli Lillefjæere has a good chemistry that shines as the show progresses. They are unafraid to explore the use of physical comedy for their respective characters, or experiment with both words and sounds that creatures may use if they could talk as the journey begins. A good instance was Ottinen's cute usage of frog sounds and the words she could use were 'hula hula', indicating her hula hoop act from the word go. She aptly displays a wide range of emotions with clarity, from when she's excited about potentially being part of the show, to demonstrating sadness and frustration using her body in ways that were mesmerizing to watch. Des she get the chance hula? You'll need to see the show on its tour to find out.As for Sigmund Fosli Lillefjæere, he plays the Viking Sigurd with vibrancy and sass that brings joy to the character despite coming across as a buffoon when trying to make the show all about him. It is clear he loves playing against the stereotypical Viking character by making himself the clown, as he uses absurdist clowning techniques to make him look and sound braver than he really is, such as jumping over a matchbox like it was the tallest building in the world. The only thing to suggest as a small tweak to this show is to cut down on the use of repetition a little. As a technique when used well for children's shows and comedy, it can be a really useful. However, when overused as it was here, the risk can be that the audience and children lose interest - especially when you have older children in the audience. Apart from this suggested tweak, Tougher than the Train was an enchanting show for all ages with the right amount of pace, energy and comedy and would highly recommend it.

So you think you know Dylan Thomas? Maybe for his work and his volatile mindset through drinking, but have you ever wondered what his wife Caitlin really thought of him? We find out in this dynamic one-woman show, Caitlin, written by Mike Kenny, directed by Steve Elias and performed by Christine Kempell, told from Thomas' long-suffering wife's perspective, who used to be a dancer until she got involved with the poet himself. This is her story and she is ready to spill the beans.It needs to be noted from the word go that Caitlin is not for those triggered by issues such as domestic abuse, alcoholism and broken families. Kempell does beat around the bush with this role as she blatantly shows the very harsh reality Caitlin lived in when she was with Thomas, in love and marriage. She portrays a broken woman who had to fight back to survive in a world in which she was judged for marrying a poet, not a rich suitor as her family had hoped. She joined her husband in drinking and quickly learned to fight back when he had affairs. But the reality was that through her brokenness, she became someone who was no saint herself. Likewise, she had affairs and beat Thomas up in retaliation for what he did to her, but rather than us hating her for it, Kempell taps into her darker emotions and makes us feel for her as we identify with her anger, frustration and more through the clever use of physical theatre. A simple set of a long wooden table, two chairs and a thick shawl create a realistic and down-to-earth interpretation of a woman on the edge of a breakdown.Caitlin is performed in such a way that with each insight we gain, we also get a comedic slant on little sayings that this wife had when irritated or annoyed. Kempell's soft Welsh accent is so inviting and mesmerising that when she starts swearing or observes something that is not to the point - like the nasty interfering mother-in-law's behaviour for instance - the comedy slides in so naturally that it hits like a ton of bricks and makes us laugh heartily. This, when it comes to the more intense dramatic moments, makes the character more relatable and leaves us wanting more.I cannot recommend Kempell's performance highly enough. It is so refreshing to see Dylan Thomas from a perspective we don't normally acknowledge when learning about poets and the brazen honesty was so engaging and memorable it will stay a long time. A real treat from the Brighton Fringe which I hope will go on to bigger and better things.

As the audience entered the Bosco Theatre, we were enchanted by a solo guitar player (Tim Carp) on stage. With Spanish, Indian, and many other world influences in the music, it set the scene for Wild Tales for Weird Folk. A collaborative and comedic storytelling experience that — despite the marketing making it appeal to families — evolved into storytelling for adults only. The end result was a show that brought together the worlds of fantasy, clowning, comedy, and more under one big tent roof. The Embers Collective had teamed up with Stumble Trip theatre to create an experience none of us would ever forget. From the very beginning Rixy (played by the dynamic Sam Rix) embraced things that did go wrong before he came on stage (like ripping the front of his trousers by accident when doing warm up stretches). With style and wit, he made it all part of the comedy introduction. By doing this, it raised the tone for the whole show to something that was cheeky, raucous, and extremely perverted in the best possible way, even when he did the standard trigger warnings, and gave the children who were in the audience a chance to leave before everything began. He then embarked on a vibrant and energetic journey focusing on a very unlikely hero and a rather unusual villain. Rixy kept everyone engaged with his use of magic in his words and skilful way of making sure everyone was included in the story. This was followed swiftly by Stumble Trip Theatre founders Grace Church and Chloe Young. In complete contrast, they provided a fun twist in the proceedings with physical clowning, sharp mirroring in fast actions, and a touch of risqué humour as they portrayed the story of a woman who was fed up with performing the same actions every day alongside her husband. Until one night, when everything changed for her forever... to find out what happened next, see if you can catch this show on tour. Church and Young had a chemistry which showed trust, respect, and joy in all they did. Their physicality brought something special to all they did as they explored the Pagan roots of their tale, before they then teamed up with Rix for the final story, combining all their talents together.With all these energies combined, Wild Tales for Weird Folk was an experience that was magical, sexy, funny, and unforgettable. Well worth watching to switch off entirely from the world to forget your troubles for an hour.

Anne Bonny and Mary Read were two formidable women in history, who took to the high seas as pirates. Disguised as men, they made their mark by breaking free from the norms of how women were supposed to be back in their time - that is, respectable, a good wife, mother and so on. In this brand new musical Bonny and Read, their adventures were shared in a way that not only explored facts and myths surrounding them, but gave a strong sense of female independence and empowerment relating strongly to today's culture.The show's concept was strong, with a focus on first person storytelling, poetry, song and a very simple yet effective minimalist set of a pirate ship's mast and flag that doubled up as the gallows as the story progressed. About three of the songs seemed to pay a nod towards the musical Hamilton in an unusual usage of rap, trying to bring the idea of traditional pirate chants to a modern audience, which compared to the rest of the well constructed songs in Bonny and Read seemed to fall a little flat in energy despite the cast's valiant attempt to keep things moving when it came to these particular sections. What might have helped a little here would be moving towards (or back to) traditional pirate shanties to tie in with the rest of the songs to enable better flow. Despite this, Claire Novello's uplifting, honest and somewhat inspiring lyrics (ably aided by musical composer Frederick Appleby) and her style of script writing really brought these two women and their rebellious natures to life.Being a four handed cast, everything was stripped down to the essentials so we could focus on the story. Jessie Waterfield's feisty approach to Mary Read was reminiscent of the character Kat Slater from Eastenders in nature (albeit not visually). She drew us into a world of survival being of the essence, wanting to travel the world and fighting her feelings as she sought the freedom she craved. Waterfield's voice was one that sent shivers down the spine and is destined to go far as a performer.Hannah Louise Saxton took on Irish rebel Anne Bonny with a brash style of performance that had just the right amount of down-to-earth honesty, with a good mix of emotion that showed her journey as she turned toward piracy thanks to the love of her life Calico Jack. Saxton also had a voice that made you want to listen to her story and more.Lawrence Harp had an element of Johnny Depp's Jack Sparrow about him as he took on Calico Jack himself. He managed to get the right balance of comedy and charm through his portrayal of a somewhat egotistical character who loved his woman and a lot of drink. Whereas in contrast, Christopher McDougal strongly took on the ever present narrator who took us on these ladies' journey into unchartered waters. His style reminded me of someone who would read the Horrible History books and be in the TV series as well, due to him being so entertaining and engaging without the audience losing interest.If you love pirates, musical theatre, female empowerment and standing up for something you believe in, Bonny and Read had all this, as well as excitement, adventure and more.

An Audience with Stuart Bagcliffe was a great mixture of gentle comedy and intense drama that was written from scratch by Benny Ainsworth, who endeavoured to create something that felt like real life - as Stuart nervously reveals his life as he lived it, up to something that happened that changed him for good. This show not only looked at themes such as childhood crushes in teenage years, but physical and mental health in an in-depth exploratory way that was honest and insightful.Under director Sally Parfett's guidance, Michael Parker was able to produce a character that was engaging, relatable and charming. He did not hesitate to bring out the fact that his mother was a big influence on his life - especially as he made her out to be watching behind from the wings, interfering if he went off track. The way he portrayed her as being protective towards him with him being diagnosed with Aldi Syndrome (a rare kidney disease that in the end kept him off school) came across as one that was warm, but extremely dominant. In fact, a lot of characters he portrayed in his life were physically and vocally so distinctive that they were easy to see in real time - like his childhood crush Daisy who was light and innocent in appearance, yet encouraged him to stray away from school and his teacher who was so dull that we couldn't help but laugh as he portrayed him in a very deadpan voice.What was interesting about this piece was the way it was written. At times, the interruptions in the tale as his mother stopped the show and the sound tech kept falling asleep seemed unnecessary as it disrupted the flow of the text. However, as things evolve, we understood why this was necessary - to add an extra layer of comic nervous frustration as things went wrong, which then added to the tale later on. Whilst this does work well once you get used to it, a possible suggestion could be that the interuptions are taken out so the story can be concentrated on more. Having said that, the way the writing effortlessly flowed from one stage of Stuart's life to the other really aided the powerful performance that Parker showed in his portrayal of a boy who just wanted to live how he wanted to despite his health.If you are someone who is easily triggered by some adult themes which are featured in An Audience with Stuart Bagcliffe, take care. But if you love new writing that is dynamic, experimental and mindful, then it comes highly recommended.

Gaetano Donizetti was a composer between 1822-1845, who, despite fame in his lifetime for work such as L'Elisir d'Amore and Lucia di Lammermoor, isn't quite as well known today. Magichour Theatre seeks to change that with The Maestro, a show focusing on Donizetti and the illness that took him in 1848. Through a series of flashbacks, arias and narration we get a feel for what his life was like, as well as his work. The beautiful setting of St George's Church in Kemptown lends an atmosphere that is spiritual yet sombre, as the reality of Donizetti's life unfolds. With a minimalist set of only two chairs, a prayer cushion and very subtle costume changes, we are able to focus on the characters. We feel a connection with the three onstage as they recite and react to Donizetti in his early days as he tells his wife about how he grew up in poverty, to how he treats his singers and supporters as his illness worsens. The writing eases this journey, with support from the Donizetti Society, and feels not only respectful to the composer's life, but handles his mental state with sensitivity.Occasionally it felt as if the multiple characters could have done with a little more definition to keep them distinct from each other physically and vocally from their narrators. However, this does not detract from the quality of performances seen in The Maestro.Sophie Methuen-Turner plays the long-suffering wife Virginia, who stuck by him through thick and thin, a narrator and the Contessa Mazolla, a financial supporter to Donizetti. Whilst Virginia was portrayed with a loving charm, her Contessa was the highlight - channelling her inner Maggie Smith, she drives the spiralling composer into rethinking his choices in not looking after himself with such control and subtle comedy that it leaves us wanting to see more of her.Karen Orchin plays mostly singers, including opera star Lina Midello and upcoming star Giuseppina thanks to her beautiful voice. To listen to her is otherworldly - especially when she transitions with ease through her sliding scales to hit the high notes and channels such emotion that her performance is reminiscent of Lesley Garrett and Sarah Brightman. But it is Robert Tremayne that takes centre stage as he takes on Donizetti himself. A very complex character, which needs the right actor to prevent him from becoming a caricature - of which we saw none of here in Tremayne's performance! It is clear he has taken the time to research the sort of person he's portraying. With a touch of SFX makeup, his eyes sink and his health deteriorates before us as his illness worsens in the second act, mesmerising to watch as he switches from loving husband to obsessive director to womaniser. The Maestro is a show that is not only suitable for lovers of opera and Donizetti fans, but for those who are new to opera and Donizetti's work.    

Done to Death By Jove was a comedic celebration of the murder mystery novel. What would happen if you put two men in a situation where the cast and crew got stuck on route to the theatre and they had to carry off the show themselves? Enter the creators Gavin Robertson and Nicholas Collett. Paying tribute to the famous detectives such as Holmes and Watson, Miss Marple and Hercule Poirot for want of example, Robertson and Collett created a show that was not only charming, but some comedy gold was created by exploring what might happen if everything went wrong, which was reminicent of the play Noises Off by Michael Frayn.To begin with, the use of the framework of things going wrong, such as sound and lighting cues going one step ahead and numerous characters trying to be depicted under pressure of the lack of cast seemed to slow down the flow of the play within the play. However, once they got into the flow of things, the energy picked up again and the audience found themselves connecting with the two actors not only trying to keep everything together, but also gained insights into the chaos of what really goes on backstage with costumes being lost and having to think on their feet when props were not where they were supposed to be. Gavin Robertson displayed a knack for eccentric characters such as Holmes and Poirot with a commitment that was a force to be reckoned with. Even when he deliberately broke out of character, he kept the audience's attention with little details like an uneasy smile, many different accents (his Michael Caine and Poirot impersonations were particularly impressive) and a charm that was reminicent of the butler character Jeeves from Jeeves and Wooster. Whereas Collett was the clown-like fun Bertram Wooster element of this partnership as he took on Watson, the female roles and more. Even when he had smothered his face with red lipstick with not being able to see himself in a mirror, it added to the comedy element of this show without distracting from what they were doing.With a little more streamlining needed, Done to Death By Jove was a well constructed performance with a true collaborative partnership showcasing Robertson and Collett's prolific talent. Murder mysteries were shown in a new light and is sure to be a success as the tour progresses.

If Victoria Wood was alive today, she would have been charmed by Selina Mersey: Madonna/Whore, a work in progress show that explored, via the form of comedy and burlesque, the idea Sigmund Freud had about women with his Madonna/Whore complex. That they were either innocent and good wives, which then led to men no longer being interested in them - or they were temptresses who lured men down a dark path of sin, leading them away from their wives. Mersey blew that concept out of the water and suggested we were both. Why should we be labelled as anything that takes us away from who we are?Mersey's comedy was a vibrant mix of sensual surrealism and the quirkiness of Victoria Wood and brought to us a show that allowed us to just be ourselves and enjoy exploring sexuality with her in a way that was engaging, fun and honest. Even when things did go wrong, Mersey incorporated mistakes into the show and was not afraid to make fun of herself during. A part of me wondered whether some of the more obvious mistakes however could have been made more of, as in a weird and wonderful sort of way, they seemed to fit with the show and Mersey's personality. An example of which was when she changed a part of the show around and deliciously messed up a costume change behind a screen in the middle of the stage. Although this wasn't deliberate, the way she had improvised to fill time and pressed her lighting and sound technicians on many occasions to press a button was well-timed and it became a natural part of the proceedings. It may be a good idea to make a mistake like this as a permanent part of the sketch, as it was interesting to listen to and watch when she did come out from behind the screen eventually. If Mersey made more of this, the show would have the icing on the cake with a fresh new take on the classic 'comedy cock-up sketch'. Plus, it would enable a stronger connection with the audience when it came to the fun audience interactions, having already handled friendly heckles and getting some of them to hold props.The truth is, Selina Mersey: Madonna/Whore is a refreshing comedy that has many great surprises, sexy moments and a playfulness that was reminiscent of Elvira: Mistress of the dark. This is a very cheeky hidden gem that is special and certainly something to watch out for in the future, and with a little more work and confidence is set to be even better. Keep an eye out for Mersey too as a performer - she will dazzle and charm you, yet throw you in at the deep end with her unexpected comedic curveballs.

'Hello! What time do you call this?' A friendly voice called out to the audience as we entered the Rotunda performance space. It was time to experience a fun, physical and dynamic interpretation of HG Wells' classic novel The Time Machine from touring theatre company The Keeper's Daughter. This thought provoking and entertaining version not only thrilled us with the idea of time travel being possible, but stayed true to the original novel, whilst entertaining us with brief interactive elements that tied the show into Brighton and the events of 2022 without losing the novel's essence.Mark Finbow not only directed and adapted The Time Machine for stage, but took on the challenge of portraying the story purely from the eyes of the eccentric inventor himself. The amount of research that has gone into the performance was so precise that we thought we were seeing someone who was genuinely from the 1800s. From the language used, to the detail of the inventor's costume, everything has been planned extremely carefully to see this character become alive as he ended up on a 'music hall stage' of 2022, telling us his adventures within the future. Finbow's carefully constructed character was so full of warmth, honesty and comedic moments that the audience didn't want his adventures to end. Even when up against a power failure that delayed the show, he used this particular detour to his advantage and cleverly used it as part of the show when charging his time machine to full power.As well as Finbow's mesmerising performance and a beautiful little puppet that indicated his new companion Wee-Nar, it was the set indicating the time machine itself that was a major highlight. Creators Mike McShane and Ekatarina Luzgina collaborated over two weeks before rehearsels began to create a compact set that was adapatable enough to indicate all the sounds, sparks and smoke that came out of a machine such as this one to take us back to a time of steam powered machines that propelled the future then. It not only added an element of suspense, but combined with inventive choreography from Alexandra Ewing and music by Artificial Pleasure, it became an experience that seemed authentic to those who either knew the story, were new to HG Wells, or a child who loved inventions and had their imaginations sparked.The Time Machine was engaging, mesmerising and raised awareness of how the future could be if we continued as we were. With a link up to our modern times, Finbow created a show that was memorable for the right reasons and created somthing that was equally family friendly and thought provoking for us adults.

Shaggers brought a different take on sex for this year's fringe festival. One compère, four comedians, all talking about sex in a late night slot at The Walrus in Brighton.It was your standard standup comedy format and held promise when upbeat compère Nick Coppin began the proceedings with his cheeky wit and directness in calling out any audience members that interested him - such as those who scared him by deliberately sitting in the front row, came in late, or didn't get the type of show it was. Coppin's presentation as a compère was not only engaging to watch, but the way he made sure we all felt comfortable as the hour progressed was well noted and appreciated. Not many comedians in the role of compère seem to go out of their way to really interact with the audience and establish a good relationship from the word go, so this was a pleasant change.However, Shaggers in this kind of format (as do many standup shows) ran the risk of things either going really well, or downhill depending on the type of comedians they get for the night. On this occasion, only one comedienne stood out from everyone and the others seemed to resonate more with those in the audience who had a similar sense of humour to them, or fell completely flat in terms of energy which affected their delivery. Also, although this show is focusing more on sex, most of the line-up seemed to either shy away from it, hint at it, or didn't seem to make the most of this topic. It may well be that on this occasion, that the type of audience they had may not have helped them as much. Yes they laughed, but the reactions were mixed, albeit positive reactions to the material presented to them.The line-up had Dan Fardell, LJ DA FUNK, Aisha Amanduri and Yulia Pylyavskaya on offer the night I went.The comedienne that stood out for me personally was Yulia Pylyavskaya. Her comedy was not only very honest and energetic, but seemed to be the only one who made the most of the topic of sex and gave Shaggers the standard it deserved. She not only took us on an emotional journey into her sexual past, but delivered a very intriguing picture of her vagina that made us cry with laughter, as well as evoked a lot of empathy as she shared her views on sex. I wanted more and would strongly recommend looking out for her in the future.Shaggers had a good concept for a late night show and would recommend it, but might suggest that the comedy on offer is definitely not for those who feel uncomfortable talking about sex in general. So if you enjoy experimental, honest comedy, with comedians that change the energy each time, this is one for you.

A Trans Fairy Tale at the Latest Music Bar was a fairytale that focused on the most unsuspecting of characters - the Fairy Godmother. And she has her own story to tell. Cerys, playing Fairy Godmother as well as various other characters, uses puppetry and small props she can balance on her hand to depict them. With the aid of her own back-chatting narrator in voice-over, she was on her way to self discovery and more in this entertaining, thrilling and moving tale that looks at the character from a different angle. It also focused on a reworking of Cinderella that was fresh, current and looked at through new eyes.What was particularly interesting about this version of Cinderella was that in the first instance, it was told from the Fairy Godmother's honest and frank perspective. The observations made were quick witted and at times sarcastic, which made the tale extremely entertaining and engaging, as well as added other layers to it. Especially when she portrayed all the characters she came across as alternatives to their traditional versions - from Cindy the 'street' girl to the drag queen Ugly Step-Sister. This added a different dynamic that not only made us look at fairy-tales in a different way, but made us aware that when we really look underneath the surface, we may not always like what we see.It needs to be noted here that A Trans Fairy Tale is not for those who are triggered by themes examined here, such as transphobia or physical and mental abuse (as also pre-warned by our narrator), but these themes were extremely sensitively explored in the writing and performance. Also, because the tale focused on our Fairy Godmother in particular, it was refreshing to see a take that shows that even Fairy Godmothers suffer - a lot of it in silence until now.Cerys' portrayal of this role was comical, angry and emotional and really drew us in as she revealed her life as she granted wishes through her agency despite claiming she didn't have magical powers and (sometimes) rather reluctantly let us into tiny snippets of her life - for instance, how she stumbled across Cinderella behind Wetherspoons, drank her sorrows away and more. She also portrayed the other characters with ease and great comic physicality. Although it would have been nice to make sure some character voices had slightly more definition from her Fairy Godmother on the odd occasion, it was mesmerizing to watch as she transitioned from one to the other.More interestingly though, A Trans Fairy Tale had another layer to it... the art of slowly breaking down deeply ingrained beliefs and focusing on self mental health care in an insightful and creative way. It not only changed how we see fairytales, but made us believe in ourselves as people again when we released our own inner magic. 

Eleanor Conway is a woman on a mission. To highlight the reality of sex and dating in today's culture – especially if you are over forty years old. This work-in-progress show is raucously honest, insightful and refreshingly to the point with no holds barred as she bares her soul to us, plus she handles heckles and someone walking out of the show with dignity and a brashness that keeps the audience in check. At the same time, Conway connects with the audience in a way that is engaging and enables us to resonate with some of the experiences she had. Especially when it came to sexual hygene ettiquete, periods and achieving orgasms.Although this show is aimed more towards the females, men also connected with Conway when it came to dating profiles. Two highlights in particular here stood out. People who are not 'all about the drama' when they actually were and men whose 'kids are their world.' Both sexes responded positively to her insights into what we all potentially really thought about those types of profiles, but what was more intriguing was that she was brave enough to go on and say swiftly afterwards that she didn't want children. By sending herself up as someone who would go more towards the men who had their children twice a week, she changed the energy of the show in a way that would then take us on a fun rollercoaster ride into other territory such as sugar daddies, playing the field and more without stopping to take a breath.If there is one thing I think would improve this show, Conway needs to trust herself with her material more. She has created something that has passion, vibrancy and legs to go places and it was clear she has put her heart and soul into her writing. All it needs is her to relax into her journey with all she has written so she can be more at ease on stage.Apart from that, Eleanor Conway: Talk Dirty To Me with a little more work will be a set that has the power to educate, empower and seduce all who watch it. It may not be to everyone's taste, but this show has the strong potential to be a success and was a hidden gem of Brighton Fringe that was not to be missed.

Lachlan Werner is a ventriloquist with a love for theatrical horror and cheeky risqué comedy. In Voices of Evil, he explores the idea of witchcraft and paganism when it all goes wrong. Brew, a puppet witch, conducts a ritual to help Lachy (Werner) gain self-esteem and confidence, but what they accidentally do instead is invoke a demonic entity who is out for destruction and corruption. Will they make it out alive? This show involves a lot of audience interaction and references to the classic Hammer horror movies and Carry On Screaming!, which set the tone of the evening. The way Werner used his voice to animate Brew was subtle yet dramatic, and kept us guessing who was controlling who - the puppet or the puppet master. No matter how much I looked at his mouth to see if it was moving, it didn't. The way he let the witch lead the action before he slowly transitioned into a dynamic interpretation of a demon was so well handled and controlled that we were enraptured. Instead of puppetry for this demon, we saw a vibrant physicalised performer who was extremely creative with his craft.Werner used his body in a way that was fascinating to watch as his Lachy character slowly became a better version of himself. It was extremely reminiscent of ballet and burlesque combined in terms of his poise, but the element of the classic Pierrot clown came through in terms of his precise hand gestures and facial expressions. As things progressed, he paid tribute to those who had been a Joker type character in the Batman films as he became more grotesque, with a particular nod to Cesar Romero and Heath Ledger. This made the show more interesting and gave a different texture to each layer as the story came to life, leaving us wanting more with the most flexible voice work I've ever seen on stage.Lachlan Werner: Voices of Evil was the perfect show to end Brighton Fringe. It had all the ingredients needed to brew the perfect potion and portrayed a journey of self-discovery in a way we won't soon forget.

Crunch! was a gentle yet hard hitting comedy set in an office, where three very different characters tried to get on with furthering their careers, but fell into the trap of not sharing what they really felt or thought. This created the right amount of tension, but also added several layers of comedy as both a dead iguana and a new girl with an interesting past integrated themselves into the action that unfolded. Based on a true event, we get a glimpse into what really can go on sometimes in an office associated with a big firm. Despite the energy of the actors dropping on the odd occasion throughout the play, it did not distract from the insightful writing and direction of all three cast members by Sarah Archer. Having had experience in a corporate environment herself, it was interesting seeing how her own experiences translated to stage. We felt as if we were a fly on the wall as every single crossed wire, innuendo and assumption came to the fore as Crunch! progressed and felt very much part of the whole experience. Archer's writing and stage setting was simple, with office tables and IT equipment for the most part, but a simple switch of the lighting and props (such as a wireless microphone and wine glasses) indicated settings outside the office space, like a karaoke bar and the local pub. This in itself kept the action swiftly moving without losing track of the plot and the comedic timing from all three members of cast as they added to the chaos that ensued. Archer, as well as writing and directing this play, took on the role of Paula - a long-suffering HR advisor who really believed in communicating with everyone to make sure they worked together as a team. She portrayed her with such compassion and honesty that I saw a little nod to Victoria Wood on occasion with some of her manerisms and quick wit. Emma Hopkins brought drama to the proceedings with new ambitious girl Jackie. In contrast to Archer, she sensitively explored the idea of saying nothing about how she really felt about certain circumstances in life (like a complicated relationship with her father) and work. Whilst the main point of Crunch! is about the importance of communication, I would also suggest that another layer is explored through Hopkin's performance as to how mental health can be affected when communication doesn't happen. How Jackie contributes to that is to be discovered when seeing this play.Finally, Philip J Willett channeled his inner Arthur Lowe as he played HR Manager Arthur (no relation), who tried to progress with little disruption as possible and was bewildered at how the world changed around him. He played Arthur with a child-like innocence at times, yet at the same time had a brash pomposity that was reminiscent of Captain Mainwaring on a downplayed scale. He likewise had his own secrets to hide, which again can only by grabbing a ticket.Crunch! had something special that had a really strong plot, great elements of reality, honesty, comedy and a cast that clearly cared about telling the story in a way that was accessible and extremely relatable. Catch it whilst you can.

Rain didn't dampen our spirits as we found ourselves transported to the Ibizan club scene for an hour during Guru Dudu's Silent Disco Walking Tour, dancing away the weekend blues on the Brighton seafront and resetting ourselves for the week ahead. Under the watchful eye of our host Madame ChaCha, we put on our headphones, sang, danced and let go. The Guru Dudu tour is chock-full of detail and we walk (and dance) away from a fabulously authentic, fun and enjoyable experience. Overheard feedback from our particular tour included "I really believed I was in Ibiza!", and "That was the most fun I've ever had. It took me right back to the last time I was there." That kind of feedback gives a strong indication that ChaCha cared about the content she created - especially as the night I went on was the first time she had launched the Ibiza dance walk. She needn't have worried about the reactions had, as all had a great time and not one of us wanted it to end.Another thing that set this experience apart from the rest is that ChaCha and the team not only encouraged you to get moving in a creative way, but she taught us a fun, simple routine that was repeated at times throughout the walk so we got a little practice in before launching it at an unsuspecting audience hoping to have a quiet pub drink. Mixed with fun games such as being your own DJ with your own set, or hiding in interesting little hiding places pulling disco poses, this became a memorable experience I want to relive time and time again. On top of this, some of the hiding places we came across, such as a tunnel that was neatly tucked away on Brighton seafront leading to the Laines, were places we had never till that moment discovered before, which made it all the more interesting.Guru Dudu's Silent Disco Walking Tours is a tour that will not only make you forget your troubles and learn something new about Brighton, but also evoke memories of a particular genre of music or place, perhaps introduce you to a new genre you have not much experience with and give you a deeper appreciation for dance and music in general. What're you waiting for? Get your boogie shoes on.

Madman William explores the idea of William Shakespeare's plays from the perspective of his characters, including Macbeth, King Lear and Hamlet. What if these very characters met in a tavern every year and were tired of how they were always chosen for performances, wanting to escape the nightmare they found themselves in. This short film showcased not only the plethora of talent on show, but the creative artistic eye of Stacey Haber as she made sure this project was shot in a style that was reminiscent of the black and white era, yet had a modern feel to it as the 1600's and the modern world collided in an unusual dream-like state that challenged the viewer's perceptions of what was reality and what wasn't. If these characters did exist, what would they say? With the perceptive writing of Naomi Clare Wallace, perfectly fusing modern and Shakespearian language in such a way that it felt natural to listen to. The dynamic created between each character became entertaining and enthralling too - especially when Macbeth (Duncan Campbell) 'accidentally' forgot his lines and had to have help from Hamlet (Jack Lee) to remember his Tomorrow, and tomorrow speech. When he got tormented by both Hamlet and King Lear (Graham Elwell), it added a charming human aspect to the proceedings and we could imagine these three men as friends meeting up every year with these subtle touches.Shakespeare and Hathaway (Edward Cherry and Stacey Haber) have a lovely on-screen relationship as Shakespeare suffers sleepless nights trying to find inspiration to write, with Hathaway at the end of her tether as she tries to encourage him to sleep. They connect in such a way to encourage empathy with both characters as they try to find a happy medium.Joe Swift as Mercutio livened up the tavern sequences as he dazzles and charms his way into everyone's minds and hearts, whilst Racheal Sparks seamlessly played manyside characters, such as the long suffering bar tender, a doctor and the ever spritely Puck keeping an eye on all proceedings. Between these two, they created a memorable performance that brought an inner sparkle to the doom and gloom comically shown here.With high energy, fast-paced comedy and the right amount of drama, Madman William brought a new twist to mental health when the mind and body get tired.

The Old Market atmosphere was vibrant as we walked in to find a stage that had a set made up entirely of cans, pots, pans, traffic signs and more that one might see on a busy city sidewalk or in a skip. Around us on blocky shelves above, the set-up was similar – indicating we were in a very different world from the one we left, as well as utilising the theatre space extremely well. This is Stomp - a vibrant show that explores rhythm, sound and dance in an engaging and stripped-down format, reminding us that life can be simple if we allow ourselves to live free in the moment.Last time I saw Stomp was in the early 2000's in Plymouth when it was on tour. It was good to see how the show has progressed since – especially as it has returned to Brighton, where it was first formed in 1991 by Luke Cresswell and Steve McNicholas. They kept the structure and format the same, yet there were differences to pick up on. Very subtle additions to the show were spotted, such as suitcases as drums and shakers for instance - plus, a different cast seemed to give the show a new lease of life as they laughed, stomped, danced and created together.What made Stomp work well was the fact that nothing was complicated. As each sound was created by household items (such as sinks, buckets and cigarette lighters) and things found on the street (brooms, plastic bags, rubbish bins and cans), a different vibe was created every time. Two highlights included an atmospheric and fun usage of tin cigarette lighters and a loud and vibrant bashing of tall plastic containers and dustbins as drums. The cigarette lighters not only provided the warmth and joy a flame can bring in terms of lighting, but as each tinkle of the tin lids rang, you could see what they were doing to create rhythms, their expressions changing with the flame. As for the thumping music, coupled with aspects of street dance, capoeira and African dance, the energy soared as the frenetic beat came faster and wilder. The real magic on stage however, was the clear tight bond the cast had as everything unfolded. They were not afraid to experiment with comedy, clowning, dance and more without saying a word. It showed that not only did movement and rhythm say more than words, but the fact that they were a tight-knit unit, which was intensely fascinating and wonderful to watch. That, tied in with the colourful lighting that was efficiently transformational, heightening the dramatic atmosphere when appropriate. Stomp the perfect show to showcase everything presented to us.An ideal show for all ages, with some subtle risqué moments for the adults to enjoy too. This was a show not to be missed.

Two men, two different approaches to creating a good play. This is what Last Will and Testament of Henry Van Dyke focusses on, as Nathan Wright and Niall Murphy dared to explore a subject that is not often explored on stage – what if it's ok to just create something that doesn't have a dramatic arc? Why not just focus on real, every day occurences with a slight hint to a romantic incident in the past of one of the characters? This is what one of the characters really wanted to achieve in their writing, whilst the other was more of a traditionalist accusing the other of going against the normal approach without doing the proper research involved.Wright and Murphy had a good relationship on stage as they explored each approach with high energy and vigour and using a simple stage prop of a sofa which was turned around to indicate sitting indoors, then outdoors as they go to the corner shop, the theme that emerged was something relatable that everyone at some point has encountered in numerous ways in life. Starting something, but not finishing it. Murphy's character called Wright out on this particular fact as something he's always done and showed his frustration at the potential risk of losing an audience. But Wright defended this well and played the Ace card of keeping things extremely simple and that it would need to be this way as it would be his first show he had every written. When asked what if it doesn't go down well, his response was done in a matter of fact, yet subtly comic way – "I'll blame it on the director and actors!". Whilst the comic repartee and writing was extremely well handled, I couldn't help but relate to something Murphy's character had mentioned in the sense of the material being at risk of losing an audience's interest. This was only in the sense of not being entirely sure if the title of Last Will and Testament of Henry Van Dyke was relevant to the piece itself and some audience members could potentially be put off by this. However, having said that, there are subtle connections to it in the sense of writing comic anecdotes down on paper and a couple of references to Wright's character being ill (or not as Murphy pointed out due to earlier actions unseen on stage) and using this type of exploration is a clever, new take on the popular Shakespearian move of 'a play within the play', only brought up to date for a modern audience.This show was one that challenged everyone's perceptions of theatre and brought a charming, entertaining approach to the story presented.

Multiverse Musical is a show with a twist. Using suggestions from the audience, the company created a brand new, one-off musical on the spot. On this occasion, the setting was an ice rink, the struggle was 'blade or no blade' and the title was Snow Choice. A very apt title given the unpredictable wet weather conditions at the time of reviewing that all were up against.What evolved on an empty stage, with just a couple of boxes to indicate a simplistic set and a single keyboard player, was a show with extremely strong improvisation skill and dynamic musical theatre experience combined. The storyline explored the idea of what would happen if in another universe – another choice for our protagonist. It was simple, yet powerful. It not only provided a strong musical theatre format, but also encouraged us to think about any choice we make in a mindful, accessible way.On this occasion, Multiverse Musical had a slightly tricky subject with 'blade or no blade'. Despite the energy falling slightly flat on occasion and the tech at one point going against them (which they recovered extremely well from) we should remember every suggestion each time they do the show is different. On this show, the way that things evolved was a great challenge and Multiverse Musical did a fantastic job with the material finding golden moments of improvised comedy. For instance, performers Emma Wessleus (protagonist) and Lisa Lynn teamed up as a lesbian couple, with Sabrina Luisi playing Wessleus' hard working mother with an obsession with full time jobs. There was a moment when Luisi had been referring to Lynn's character as 'husband' throughout the first universe, but in the alternative universe, Lynn made a brilliant usage of this faux pas by biting back with the fact that she was actually a wife and to 'get with the times!' A special mention has to also go to Lee Apsey, who played two very different roles. The upbeat character of the head of the Olympics, then switching to a guy who was extremely reminiscent comedy and vocal wise of Rowan Atkinson's classic character 'Mr Bean'. Visually hilarious to watch.Multiverse Musical was an experience that added a well needed uplifting mood to these uncertain times and with different suggestions each time, is sure to keep you on your toes.

Hayley May Muirhead and Molly Dooner under the company name of Pink Mango Comedy, bring a show that is zany, bizzare, upbeat and sexually empowering for any females watching. Pink Mango does 'The Birth of Venus' saw two aliens from the planet Venus after being guided by their Goddess Aphrodite in their mission to lose their virginity on planet Earth. What emerged was an experience that was part sexual discovery, clowning comedy and absurdist performance that was reminiscent of Ruby Wax's brash and honest comedy sketches in the 1980s.From the get go, Muirhead and Dooner captured our attention with their raw, positive attitude and sensual physicality. Dressed in nothing but purple leotards and tights with sparkly and dynamic drag inspired makeup, they challenged our perceptions on how we may see other life forms. Using simple costume additions such as jackets, comedy moustaches, glasses and more, we also got to meet lots of different characters aiding the two aliens on their journey. These transitions were done with such ease and fun that we did not want the show to stop, plus I think having a transition music track of Donna Summer's classic Hot Stuff as they changed their clothes added to the fun party atmosphere that had already been created. Highlights included a Russian sex worker who introduced the idea of orgasms (in ways that cannot be described here) to one alien, then very quickly after that, we got to see the porn industry sent up in the best possible way using the stereotype of the dodgy 'stuck in the 70s' style male who comically demonstrated the basic positions used in porn. This was done in such a way that was physically hilarious and clown-like, with elements of the Carry On film franchise and the attitude of French and Saunders.But what makes this show special beyond the well thought out and linked sketches is the close knit commeradery between Muirhead and Dooner. The clearly evident trust between them is stunning to watch as they were not afraid to play with different techniques and take them further than a stereotypical comedy show like this would normally do. I say this in the sense of an extremely well written and rounded storyline; vibrant characters; not being afraid to push their sensual physicality and being comfortable in their own bodies which shone on stage. They were also bold enough to encourage physical audience interaction without breaking social distancing rules at the time of writing and had a rather fun way of incorporating a flying seagull puppet! Pink Mango does 'The Birth of Venus' was an experience that no one will ever forget in the best possible way.

Have you ever wanted to be in an Oscar Wilde play? Even if it's just for a few minutes? With The Importance of Being... Earnest? you actually could have that very opportunity. The concept was very simple - an amateur dramatics society had the opportunity to put on Oscar Wilde's classic The Importance of Being Earnest. There was only one slight issue...the actor playing Earnest Worthing had not showed up! This was where the audience participation came in, so that the show could carry on as best as possible - especially as they were also doing a live television broadcast to widen their audience.Under covid regulations at the time I write this review, there was a huge risk that this kind of show could go wrong with social distancing and so on. However, this was not the case with theatre company Say It Again, Sorry? They not only maintained social distancing, but looked after each audience member as they were brought up to the stage to interact with the cast via a clever fusion of improvisation, the original Wilde script and a hilarious insertion of a Harry Potter script. There was no awkwardness at all, just a sense of throwing themselves into the material that was thrown at them and it didn't matter whether you knew the original play or not. The day I saw it, this show had the perfect mixture of those who knew the play and those who were new to it. All thoroughly enjoyed the experience, even if the long suffering director Simon (played brilliantly by Tom Cray) felt like everything was falling apart.What really made this show so different was the fact that every single actor played their role straight in order to create comedy that was fast paced, highly energetic, yet also had the perfect amount of stillness to enable Wilde's aristocratic sattire to come to life. It felt reminiscent of the current popular farce The Play Wot Went Wrong, only without the stage falling apart or the dangerous stunts. Each performance was so strong and believable as they tried keeping everything together in an authentic Victorian living room setting, with a modern printer that was also on show (and being used during the performance), but special mentions have to go to Susan Hoffman for her foreboading Lady Bracknell and her highly strung diva character who refused to work with amateurs, as well as Rhys Tees who gave a highly entertaining and well rounded performance as Lane, Miss Prism and the long suffering actor Graham.The Importance of Being... Earnest? was an entertaining, humourous comedy that lifted everyone's spirits and we hope to see more of them in the future.

An escape room style experience with a paranormal twist, Retrogression is about a ghost who scares visitors to the Brighton Toy Museum and needs to be released. We have to find the clues in order to spell the ghost's name name in each 'room' and therefore free her, and win our own release. It's a good concept with a satisfactory level of difficulty to solve the puzzles involved, including finding numbers for locks to open, discovering the significance of toys, and more. This was all accompanied by a stunning soundtrack played through our headphones from the perspective of our ghost as she takes us through all that happened to her.However, this show needs a lot of work to make it more streamlined and easier to become immersed in. Firstly, we had to go into the museum only six people at a time and, due to Covid restrictions, we had to keep progressing in one direction. My team somehow managed to miss the fourth letter in the ghost's name, and these restrictions meant that we couldn't go back to double check as the next team were coming round soon after us. Normally in escape room experiences there's a set amount of time that you use to escape from one room. However, because we had to keep going from one section to the next after solving the puzzles, we seemed to miss out on part of the experience. It may help to have set staggered times of entry so that there is less concern about social distancing restrictions with other groups on each other's tails.My group also felt that having the audio on our phones made it difficult to focus on the clues. This may well have added to missing that last letter, as we worried about whether the WiFi was working or not. However, that doesn't mean to say it's a bad idea in the long term. What might help to make it more of a more spooky experience would be have stages of the audio played over a loud speaker system/tannoy as the audience enters each section, revealing more of the story. Alongside this, dimming the lights more so that the torches provided worked more efficiently would have made for a more fully immersive experience. Other groups may have a different experience to us, and there may have been other venue restrictions in place, so it would be interesting to see what Retrogression could become when current restrictions are lifted, or potentially in a different venue.Despite this, Retrogression has potential to be a strong show in the future. All it needs is to be streamlined as aforementioned, and this will grow into a very unique and interesting experience.

When it comes to a somewhat frightening topic like cancer, many of people seem to automatically shut down emotionally when talking about it, almost denying it exists. However, this is not the case with local theatre company Speak Up! Act Out!Three extremely strong performers in the form of Angela El-Zeind (who also created and directed this piece based on her own experience with breast cancer), Chess Dillon-Reams, and Aurea Williamson came together and created Rebel Boob. It's a play that looked at inspirational real stories from men and women who had suffered from breast cancer, and not only acknowledged the pain associated with it, but also cleverly transformed that pain using monologues, video and dance to channel the simple, yet powerful message that this experience in a way could release fears and doubts to transform someone into a stronger person who appreciated life more than before.Being a difficult subject to cover, there was always going to be a risk of triggering someone watching Rebel Boob. However, it was clear that the detailed and thorough research had been done by working with local cancer charities to show in a positive and sensitive way, that change was a huge part of the process, and the cast embraced each different emotion of each story with dignity. Even though this piece was in the beginning phases of transition itself into something bigger, the performances, music and dance already had a very strong framework with so much variation in speed, physicality, stillness and more to produce an extremely insightful and powerful experience. Using nothing but a couple of boxes and an empty floor space to move in, as well as a higher, empty stage with a screen showing visuals that complimented the individual performances, Rebel Boob seemed like it was not just a stage play, but an interactive and engaging learning experience that resonated with all of us emotionally even if we hadn't experienced cancer ourselves. One thing that could be slightly improved is the tech aspects of this show. A couple of times the sound did threaten to overwhelm the actors making it hard to listen to them. Also, in moments of listening to the stories, there were beautiful dances to complement the monologues. Due to the neutral light flooding the stage in those sections, it was a little difficult at times to know where to focus your attention. This could be easily rectified by making sure the light just focuses on the movement with the words in the background to make it more visually and orally stimulating so we could concentrate on the emotions generated.This part of things aside, Rebel Boob was not just about breast cancer, but about community spirit, uplifiting each other during uncertainty, joy and more. El-Zeind had created something that I believe will grow into something special by not only spreading awareness, but also change perspectives on how we see cancer. This was an experience not to be missed.

Fanny Dent was a woman on a mission - to see where she fits in (if at all) into the world of burlesque. Using her own real life experiences as a platform, Dent created a one woman show that was unique in itself. Demystifying what burlesque really is about via the use of comedy, burlesque routines, and cheeky anecdotes. In more recent times we have become used to burlesque as a form of glamour and style, whilst clothes are being removed in the form of a strip tease. However, Dent reminded us that there was more to the history of burlesque, as it was originally a form of satire in the Victorian Music Hall used to mock the upper classes. Burlesque allowed the performers to bring the level of comedy to a more base level than a standard comic would have done previously. Over time, burlesque came to be more associated with strip tease rather satire, and Dent's exploration of her own journey looked to bring burlesque back to its original roots.Using a very simple stage set up of a changing screen, numerous quick costume changes, a hat stand, and a chair, Dent introduced us to a world in which a very insecure "geeky" plump girl ended up going to burlesque classes to enable self love to occur. The lighting was simple, but dramatic, using a mixture of shadows and simple spotlighting. Dent's sharp comic wit (which was occasionally self deprivating) was refreshingly honest and up front, with no holds barred. Her routines added a sense of freedom which is rare to see in any burlesque performer in these current times. They had an energy that was reminscent of a wild cat, and with the class of Gypsy Rose Lee, which was mesmerising to watch and a lot of fun to enjoy.The show would have benefitted from being on a slightly higher stage so that the audience at the back would have been better able to see the dynamic floorwork within Dent's routines in more detail. Sadly, a lot of it was lost with the seating being on the same level as the stage, so we couldn't see much of what was happening. Despite this though, The Burlesque Imposter was a hidden gem of the Brighton Fringe that took burlesque to another level. Despite what the title indicated, Dent was no burlesque impostor, but a star in the making and needed to be watched to be believed.

The Strange Case of Dr Jekyll and Mr Hyde is one of Robert Louis Stevenson's most popular novels. Following the strange occurences with the character/s Jekyll and Hyde, this tale explores the idea of good and evil, but within the possibility of "what if we really gave into a darker side of us that we hide from the world?" No boundaries, just raw emotions with seemingly no logic. The approach that JD Henshaw took when writing and directing this one woman version of Jekyll and Hyde was one that was inspired by the main character Dr Jekyll. It focused on the outward and internal struggle within this character, in the hope that a different side of Jekyll could, under the instruction of recordings played back when in the form of Hyde, enable her alter ego Hyde to become just as accepted in society. With no other influences, all we focused on was what really happened behind closed doors as Jekyll tried in vain to make this impossible experiment a reality. The script was so beautifully written that it not only paid homage to Stevenson's original text, but took the psychological and physical changes that Jekyll underwent to another level. It was clear that a lot of detailed research had taken place about the time period Stevenson wrote in; from the words and settings of the study, to the lamp light, doctor's notebook and the costume our doctor would have worn to make this particular piece authentic.But what brought this dream (or nightmare) to reality for Henshaw was the perfectly cast Heather-Rose Andrews, who took on this mammoth task of creating someone whom you could immediately class in a way as mad for even contemplating playing with science and medicine in this way, yet at the same time brave enough to go to the hellish depths of her soul to create Hyde. Her performance was mesmerising to watch, as she challenged her mind and body to create this monster. It was reminiscent of the BBC's period piece Gentleman Jack with very strong elements of the more recent Joachim Phoenix's Joker. The way she switched between calm logic in one moment, then a vulnerable, yet energetic psychotic state the next was subtle, but yet so sharp that it really differentiated and heightened the two characters or 'states' presented. As her journey progressed, we got to see her physical changes in real time. Every single detail was so realistic in showing the excruciating pain that we couldn't help but watch despite wanting to turn away in horror. From every fist clench, her body being thrown to the floor and every painful jerk and twist, Andrews held the audience's attention. It seemed that with each transformation, the fine line between the conscious and unconscious mind became more of a blur, which took real skill from a performer like Andrews and needed to be seen to be believed. As her character aptly said, 'Who do you think you are talking to?'

St Ann's Well Gardens in Hove was the perfect idyllic setting for Drama Impact's version of William Shakespeare's Twelfth Night. Although the unpredictable weather threatened to stop the show before it started, the sun shone on this merry band of players, led by director and performer David Houston.The first thing to note about this version of Twelfth Night was the immaculate research and detail that Drama Impact had put into every aspect of the show. The programme was well thought out, with easy to absorb bits of history behind the inspiration of the play itself, as well as how Shakespeare's family tied into it. In this instance, part of the research carried out suggested that Shakespeare in his own way was saying goodbye to his son Hamnet (part of a set of twins who died very young) as he explored the aspect of twins being separated in the play. As well as this, all the costumes were in traditional Jacobean style that would very likely have been worn on stage, from the hats and pantyhose down to the type of swords that would have been used in stage combat, as well as the traditional musical instruments played by the actors who had experience in music. It really felt like we were in Shakespeare's England and not today's era.But it was the engaging performances (including extremely well thought out doubling up of roles), as well as the chemistry between some of the pairings that made this show one of the best versions of Twelfth Night to date. One example being Orsino and Viola/Cesario (played by Richard Lewellyn and Lillie Prowse) who displayed the seemingly unlikely pairing with a simple emotional connection that made you want to scream out the truth and see them get together. Their ease with each other was touching to watch and brought a more innocent aspect to this relationship as Viola hid her identity whilst falling for Orsino. But the scene stealing moment was Christopher Poke's discerning Malvolio donning the yellow cross gartered stockings in order to win Olivia's heart (played by Joanna Nevin). The gradual change from someone who maintained control and order to a love stricken sweetheart was not only comedic, to the sheer manicness of trying to woo this lady was so mesmerising and child-like that we felt sorry for him. But it was Nevin's double take in horror that made this comedy scene extremely well rounded and vibrant.Whether you are a fan of the Bard, or are new to him, Drama Impact introduced new audiences to Shakespeare's work with reactions including 'this is beautiful' and 'I have never seen Shakespeare before. I am really getting into it'. This version of Twelfth Night was the perfect play to bring joy and magic to the Brighton Fringe this year and we hope to see more from Drama Impact soon.

Whenever we think of Jack the Ripper, immediately we think back to Whitechapel and his gruesome victims. Robert Inston's work in progress show Jack The Ripper: My Life as a Suspect explores the people who were seen as suspects at the time, including people such as George Chapman, with well researched historical fact, as well as monologues that indicated the type of people they were according to the media at the time. But what if the newspapers were wrong and they had a voice? This is where Inston's well portrayed characters and concept comes in.The show that I saw showed Inston performing in front of a tiny audience with none of the original costumes he normally uses due to the uncertainty with audience numbers on this occasion. Normally I would say that the costume makes a show like this with strong performances such as Inston's, however the version we saw equally worked without the costumes, as we saw him in his most neutral state as well as the subtle physical transitions as he became each suspect with such ease and dexteriety without going into melodramatic territory. It is easy to assume that anything to do with Jack the Ripper, thanks to previous films (including the more recent From Hell) that the Victorian period was all about big characters and big actions, but as shown today, it was the stillness of each transition as he chillingly became each character that made this particular show engaging and educational.There were moments of gentle comedy where he channelled a very regal Queen Victoria to show how she viewed these horrible crimes whilst in mourning for her love Albert. He captured her mannerisms well by underplaying rather than overplaying, making her charming and engaging. But it was the sections explaining more about the characters in development, as well as the ongoing historical research that was interesting to listen to and left us asking more about his extensive knowledge about Jack the Ripper after the show. He mixed fact with humerous anecdotes from his experiences so far with living in Whitechapel itself and working as a tour guide for the Jack The Ripper Museum, which added a personalised touch to the journey of self discovery he was on and left us wanting more.With the costumes in place and further things to be added, Jack the Ripper: My Life As A Suspect looks set for future success and even though right now it has the bare bones of a show, everything about it showcases Robert Inston's incredible talent and intellect. It would be interesting to follow this show on its journey as it grows - especially as the subject is not for the sensitive or faint-hearted. But with the right approach, which Inston seems to be on, this show looks set for further success.

Having studied Dylan Thomas at university, fallen in love with Richard Burton's classic interpretation of Under Milk Wood and having a strong Welsh family connection, I was excited to see this one man show of Fern Hill and Other Dylan Thomas by Guy Masterson. Myself and those who saw this show were not disappointed. Masterson brought to the stage a vibrant energy and passion for Thomas' work that rubbed off on everyone from the word go and whether you were familar with his work or not, everyone learned something new about his powerful insightful writing and the man himself.What made this experience particularly special was that not only were each of the poems done with the spirit of Richard Burton (it helped that Masterson was the great nephew of Burton), but due to Masterson's upbringing in Wales, he performed Thomas' work with a lyrical Welsh lilt that not only made the show extremely authentic, but everything was brought to life in a way that was uplifting, educational, funny and insightful. Every link that connected the original writing together was well researched and personalised with moments from his childhood and as he grew up and learned more about Thomas. This gave an engaging insight into the workings of Masterson's mind and even when he mentioned moments from the tour of the show before lockdown happened, it felt like we were watching Thomas himself speak through him. A particular highlight of his memories was meeting someone on a cruise who was around at the time that Dylan Thomas died and learning from him that there was a strong potential that the cause of of death was misdiagnosed. As he also mentioned, given what we know now medically, as opposed to then, it was likely that it was a diabetic coma that took Thomas in the end. In many ways that gave a different dynamic to the show, as it became part lecture, part performance.But the main thing that brought the whole show to life was using nothing but an empty stage and himself, Masterson didn't recite any of the work on offer. He physicalised most of the characters and brought raw emotion to each piece. With every word and every action, it became an experience that was taken to another level of performance that was beyond words. It was like he wasn't Masterson anymore, but a little girl, a butcher, an old grandfather smoking a pipe and more. This was method acting that was on the same perfectionist level as David Suchet, yet it had a spiritual journey that carried the humanist nature of Thomas' writing with such power that we didn't want it to end.Pieces of note included Holiday Memory, The Hunchback in the Park, Do Not Go Gentle Into That Good Night and Fern Hill.

A family comedy show with a twist, Liz and Jessie's Undiscovered Country follows Liz and Jessie as they set out to explore places in the UK that may have had a connection to the tomb of Merlin from the time of King Arthur. Created by Simon Messingham, this show had a good amount of straight talking wit, historical reinactments, and a villain who set out to cause trouble as they got closer to finding the truth.The three ladies involved were extremely strong performers and it was also lovely to see fun and dynamic roles that had been created for older particularly as younger actors wouldn't have worked as well. Jessie Fredericks played a version of herself who was very sweet in nature, but was not afraid to speak her mind if something did not sit well with her. When she reinacted King Arthur in order to set the scenes of the origins of Merlin's tomb, she played him with an attitude of a modern 'hip' monarch, and a playfulness that indicated he was still willing to learn. Elizabeth Downes, in complete contrast, played Liz - a harsh, hard talking woman reminiscent of the late Steve Irwin, who believed she could inspire anyone to survive in the wild. The energy she had as she challenged Jessie's gentle nature was full of passion and did not hold anything back. This was especially evident as she wanted to share with us in a lecture how you could dissect a hedgehog, and when she protected her friend for dear life as the show progressed.Emily Piercy played Lady Piercy, a vain, but glamorous woman who wanted to get to Merlin's tomb to find treasure to add to her ever growing collection of jewellery. She played this character with vivacity, and a sense of vulnerability as she desired to be acknowledged for her looks. Her comic timing also showed a sense of purpose as she tried to throw the two ladies off the scent.Simon Messingham played the 'nice but dim' stage hand, as well as Merlin himself. He was a little mixed in terms of his performance on the day I watched him. The stage hand character seemed to be not quite present on stage, despite some golden comedy moments coming out in response to a mirror being present on stage and what he did with it. But his Merlin became a hippy from the Sixties who was 'on the herbs' a lot, and he seemed to be more at ease with this character while he released his wisdom and set a trap to trick Morgana the sorceress.Despite Messingham's stage hand character, and parts of the script that needed reworking, Liz and Jesse's Undiscovered Country had great potential to be an extremely strong show that gives families something different to watch. It had a good storyline, fun characters and when Downes and Piercy embodied Morgana herself later on, it pulled everything together to make this a special performance.

Glenda and Rita are two black and white stars from the 30s and 40s, who are trying to fit into a modern world of technicolour, personal labels, and what it really means to be a star these days. With a simple setting that involved a wardrobe rail full of clothes in the style of the era, a keyboard, and a collection of simple props that included a porcelain cat, Cinebra: Glenda and Rita took us back to the golden days of cinema with a lot of tongue in cheek, brash comedy moments. The two performers, Alexander Joseph and Ro Robertson, complemented each other well in their different styles as they took on the roles of Rita Herringbone and Glenda Swing. Joseph's Glenda was subtly portrayed, yet remained glamorous, enhanced with just a touch of glitter as he channelled the spirit of Rita Hayworth. In contrast, Robertson's Glenda was further towards the comedy extremes, as he channelled a brash New York broad with a lot of attitude, reminiscent of Marlene Dietrich. Both performers were totally different in their approach, but the comradery they showed was full of magic and mutual appreciation for each other, no matter how dark the content got. They were not afraid to explore topics such as alcoholism, homelessness, dating or sexual abuse in their past and current lives as they introduced themselves to a modern audience without being insensitive, or offensive. It can be difficult to get the balance right with a show like this, in case the material is taken too far for the audience. However, the characters of Herringbone and Swing showed a lot of class, comedy, and insightful observations as they compared their past to now. Even when there were some technical issues at the beginning, as well as wardrobe malfunctions, these mishaps were comically embraced into the material.Joseph and Robertson have clearly really thought about the details of the lighting, songs, costumes and makeup of the 30s and 40s. The end result was a grey monochrome style mixed with cabaret drag artistry, which added to the glamour and grittiness of Cinebra. It felt like we were in an unusual fusion of the worlds of vintage, modern life and film noir as the two ladies invited us into their world as they knew it. The musical highlights included the chic Know Your Onions (including a very unusual looking ukelele), the melancholy style of Billy, and the rather dramatic My Big Number. Again, all very different styles, but they captured the most universal of emotional journeys, including struggling to find love, wanting happiness, and acceptance.Cinebra: Glenda and Rita struck a chord with both those who are young and those who are young at heart. It captured joy, sadness and disillusionment all at the same time, and was not to be missed.

Imagine the setting. A cabaret seating set up in the downstairs section of the Latest Music Bar, a lone magician doing up close personal magic as you settled down with a drink, with a simple table and chairs set up on the stage. The lights dimmed and a phantomesque compère with spooky lighting under his face introduced The Secrets of Jack Roulette. Part theatre, part magic show, and part film, we saw the nightmarish dream-like state of famous magician Jack Roulette as he relived his nightmare to rescue himself and his glamorous assistant from 'Wonderland'.Anton Binder created an engaging and watchable experience as the main show evolved. Using the character of Jack Roulette, he set out to explore the idea of whether we could choose our own fate, or whether fate was decided for us. This was indicated by a silver balloon being passed around the audience, not knowing whether one of us would be his chosen volunteer, or whether we were going to be a pawn in the nightmare Roulette had experienced. The main objective was to untangle the secrets of magic in order to break the nightmare — without Binder giving too much away, of course.There were however two elements that let the show down on the night I watched it. Firstly, whilst the 1920s style private detective set the scene well when a mysterious package turned up, the American accent necessary for the character kept fluctuating between British and American, so it was hard to keep the illusion. Also, during the show, a cardboard box that Binder used to collect answer cards from the audience fell apart as he was collecting the cards! Whilst this type of malfunction can happen during a show, and cannot always be helped, it looked like Binder was thrown by the experience, and didn't seem to cover this up well; even when he said later on that he 'meant to fail'. What might help in the future is to make it clearer that it is part of the show, as there was a risk that the frenzied cover up may have confused the audience as to whether it was deliberate or not.Despite those observations, The Secrets of Jack Roulette had all the ingredients to make this a strong show to watch. It had comedy, intricate magic tricks, Alice in Wonderland references, as well as beautiful animations and film noir style filmed sections created by Danish film maker Sally A. Ward. Her work was so well designed and reminiscent of the 1920s onwards that we wanted more of her work shown. This needed to be experienced to be believed.

Whether we care to admit it or not, in some way, shape or form, we are all intrigued by pirates. Whether aboard a historical pirate ship, or committing piracy on the internet, these people known as pirate challenge society and in some cases, claim to protect the innocent. A Mutineer’s Guide to Modern-Day Piracy very cleverly combined historical and modern times to create a piece that used piracy as a compelling framework to examine how the corporate world using personal data to create click bait content, as depicted at times on platforms like YouTube, for instance.Told from the perspective of 'N' (Ez Holland), her wonderful storytelling skills showed her journey into cyber piracy as she wanted to make a difference in the world by protecting the innocent who were fighting to survive. As N meets her idol, cyber pirate 'X' (Nic Lawton), she learns all about women pirates such as Mary Read (also Holland) and Anne Bonny (Amy Whittam). These stories are interwoven into her own story of self discovery. As X rather rudely told her, "You can't be a part of this mutiny till you know what it means to be a pirate." Despite occasionally having the sound threaten to drown out the fantastic performances involved, what evolved was a very strong feminist piece with a fiesty take on how women could make a difference by using cunning tactics to take on the world. The historical and modern costumes, plus the filming, lighting and editing skills involved to make this happen were well thought out, slick, and dramatic. At times, the story was dark enough to evoke thought provoking scenes that made you rethink history, and see how much it could overlap with the modern world. Aided by Daniel Coleman's energetic and engaging style of writing, every character was brought to life with such passion and vigour that we were left wanting more.Holland's Mary Read's razor sharp wit almost felt like we were being stung by her rapier as she teamed up with Anne Bonny to bring down the navy ships. In contrast, Whittam's Bonny was blunt and straight forward, but remained inspiring to watch as she worked with Read to change history.Lawton's 'X' had a difficult journey ahead as she challenged the corporate world, but was brought to life by the hard hitting, down to earth approach as she worked to get to where she needed to be. This was well complimented by Nick MacCormack's jovial, yet practical Mark Zuckerberg inspired character Joel Icarus. He presented the concept of Libitas, a social networking site that brought individuals and businesses together in an accessible and friendly way. He remained calm and positive whilst challenging 'X's perspective, as opposed to her firey passion, and it was interesting to watch these total opposites fight both sides.A Mutineer's Guide to Modern Piracy presented a well balanced piece that put across both sides in an exciting and dynamic way, and was a strong online highlight for Brighton Fringe.

Zany, spooky, fun! That is the way to describe Vampire's Ball Ultimate Halloween Party Live! Although it was on Zoom, and they were up against time lags on the extremely odd occasion, it did not affect the show in the slightest. The crazy duo of Brad Tassell and Steve Goodie broadcast live from the States to bring the spirit of Christmas and Halloween together in a safe, family friendly atmosphere, aiming to demystify the scariness of the season, and all the infamous characters such as witches, mummies, werewolves and more.Using various spooky backgrounds with interactive karaoke and visual elements, as well as live and recorded music, plus numerous lightning quick costume and special effects makeup changes, the two men very quickly made Halloween accessible for everyone watching, making it so that the celebration was for all year round, and not just for October. The fact that their upbeat energy and comedy timing was engaging and 'on point', made the whole experience enjoyable. At the same time, it was educational as, from time to time as a way to break up their jokes and music, they described some of the ways these creatures came about. For instance, they took the werewolf and broke its journey of change as depicted in classic movies like The Wolf Man down into fun bitesize storytelling moments without focusing on the scary aspect of that particular creature. They merely said how it is the saddest creature of all of them as they cannot remember what happened to them as a werewolf after turning back into a human. Backed up with a song that was reminiscent of Weird Al Yanchovich called The Werewolf's Lament, Tassell and Goodie brought both drama and fun to highlight this particular creature, making sure that everyone's level of comedy was catered for, no matter whether you were young, or young at heart.To cater to the history fanatics, there were also elements of how Halloween came about in the States, and why candy was brought into the proceedings. But what made this show particularly special was the story behind it, as well as fun dance routines and chances for the audience to interact and add spooky sounds to some of the songs. When I spoke to Tassle and Goodie after the show, it turned out it was inspired by not only their mutual love of Halloween and Christmas, but the story of Tassell's young daughter who came home from school one day and made the innocent comment of "Daddy, why was no one singing songs about reindeer poop?" The rest was history.Vampire's Ball Ultimate Halloween Party Live was an extremely fast paced and entertaining show that now needs to be taken onto a live stage rather than Zoom. If you thought this particular version of the show was great, it would be extremely exciting to see what Tassell and Goodie could do on a live stage in front of a live audience to see what crazy antics they would get up to next.

If you're looking for a show that could make Scrooge himself engage with Christmas spirit in June, then Aiden Goatley: 12 Films of Christmas is for you. Using a simple film projector alongside his engaging and comic storytelling skills, Goatley talked us through twelve films that were always shown at Christmas, from his childhood to the present day. This was interspersed with the stories of real life events, which had made these films stick in his mind. This gave the show a beautiful personal touch, and felt like we were with a good friend sharing memories.The audience attending the show do determine the direction of a lot of the interaction involved here. On this occasion, it was an intimate audience with a split between Christmas enthusiasts, and those who were not aware of some of the films featured due to them not having being born at the time. Despite this, the 12 Films of Christmas ran smoothly and the banter flowed well between Goatley and the audience present.Goatley mentioned that in order for a Christmas film to work, there were three rules the they had to fall into:1. It has to capture the spirit of Christmas2. It has to make you cry, or use the excuse of "too much dust in the air"3. The Muppets have to be able to do a musical version of the film!Using these three rules, films such as Home Alone, Die Hard and It's a Wonderful Life were explored with enthusiasm and a childlike wonder as he looked back over Christmases with his unusual family (including a grandmother who went to ridiculous lengths to create the perfect Christmas turkey), as well as the ones he now shares with his wife and adopted daughter. What was particularly enchanting was that he was very honest with the fact that before he met his wife, he hated Christmas. Thanks to her simple religious belief, and the preparations she undertook on the lead up to the big day, he changed his attitude. It was like watching a Scrooge character change in front of us, which added to the personalised simplicity of the show. Another highlight that added to the playfulness was the fact that, despite Die Hard not fitting into his first two rules, he managed to pair up suitable Muppets to act out the different roles. This not only provided a different take on the action film, but also added another layer to the charm that Goatley provided in his storytelling.12 Films of Christmas not only provided some well needed light relief for these uncertain times, but the simplicity of the whole experience added a magical early Christmas spirit to the Brighton Fringe.

Seeing Queerly was a comedy show that presented a different take to life during and after lockdown, as well as dating. Ross Kamp brought his candid and and sometimes hesitant humour to Le Village's stage with a gentle approach that charmed all watching him. Although, we couldn't get too comfortable, as at times out of nowhere, an upfront and ascerbic wit would catch us off guard when we least expected it, keeping us on our toes.Despite taking a while to relax into the material and at times letting the energy drop when there were moments of silence, Ross made sure that we were comfortable and entertained throughout. The fact he was honest about the fact he was partially sighted gave a very different perspective on how we saw life. It became a show that was made interesting with many anecdotes on how he made it through lockdown and on certain dating apps like Grindr for instance. As he relaxed into the material gradually, it became clear that he had potential to really explore himself as a performer through this particular performance platform. He became more playful and enjoyed himself fully through the vibrant positivity he showed in his lip syncs, ukelele playing and self deprivating comedy. Maybe it would help his performance if he allowed more of that playfulness to come out from the word go and trusted himself more, even if he was deliberately being hesitant as part of the joke being set up. This way, the energy wouldn't have dropped as much. However, having said that, Ross Kamp is a performer with a lot of potential to really be someone that people will remember for the right reasons and with time, the confidence in his material will evolve well.A particularly memorable moment was when he explored how we as individuals automatically place people in categories. For example, football fanatics, foodies, beer loving and so on. But he then yet again threw us off guard by saying that the LGBT community are equally to blame with this, such as bears, butch etc. From there, he launched into the problems of fitting in and dealing with what he called 'Twitter Gays'. It was good to see so many crossovers between the straight and gay communities when it came to dating and more, as it encouraged a lot of resonance with the material presented, as well as enabled him to be more comfortable on stage and more experimental with a lot of the 'shade' being thrown at us.With a lot more work on being comfortable with the material, Ross Kamp has a strong future ahead of him as a comedian, as well as a writer. Watch this space.

Katie Rice and Ellen Patterson are two performers on a mission to highlight how womxn are portrayed in today's world, as well as specifically within the political environment. Words Without Consent is a well-written play that aims to further this mission by comparing two women getting ready to go out against a political debate that looks like it will spiral out of control.Words Without Consent draws on real life events, including those depicted in the media, as well as stories from real women that had been swept under the carpet and seemingly forgotten about. This approach meant that the play dared to explore topics that tend to not often be explored on stage in such an open and honest way, such as dating, unethical work behaviour, inappropriate comments from men, and rape. Whilst some of these topics may have been upsetting for some watching, the way the two womxn wrote about them was handled with extreme sensitivity.What particularly worked well was the way Rice and Patterson seamlessly integrated the two worlds of media and real life. This meant that we could see the reality of what can happen in a political campaign both in front and behind the camera, as well as what can happen in real time. Although the two worlds were different, everything the girls getting ready talked about were also hinted at in the political debate. For instance, the idea of women not being able to dress for the workplace or a night out without being targeted sexually. Rice and Patterson also explored the idea of what would happen if this was actually talked about openly and freely, with no holding back. By doing this, they enabled us to think more about what we could do in a small way to aid the rights of women in the workplace, home and life, as well as get emotionally on board with the characters as they evolved.2Gal Theatre Company has created a strong play in Words Without Consent based on its straight talking, yet uplifting approach, as well as extremely strong and well-rounded performances from Rice and Patterson. Their partnership on stage was engaging and interesting to watch as they went through their different roles and kept the energy high throughout. This world premiere of Words Without Consent was a hidden Brighton Fringe gem, which needs to be discovered and experienced. Hopefully audiences will flock to watch their upcoming tour.

Running through different eras of history, Clean - The Musical wiped the floor with its heartfelt, touching overlapping of stories of seven women who lived in Roundhill, Brighton. The principal connection between all of them was laundry, but they were also bonded by sisterhood, standing up for their rights, helping each other up when down, and - more poignantly - how every single woman dealt with health struggles, whether physical or mental health related. The main narrator Tasha (Holly Ray), based in present day 2021, linked them all together as she went through her late mother's things. What evolved from this framework was a musical that has the spirit of Les Miserables, and a strong potential to be taken into the West End.With each story that unfolded, Sam Chittenden's writing enabled communal resonance with all lives on so many levels. This was equally aided by the strong performances and songs the cast portrayed on stage via a Brechtian style of storytelling, as individual voices helped to make these women come to life.Ray's Tasha gave us a valuable insight into dealing with grief, as she explored the difficult relationship she had with her late mother. Although she seemed nonchalent to begin with, as her character evolved we saw that she had a very curious and sensitive side to her. Ray gave her character a strong backbone, as well as an emotional journey that was engaging, and easy to connect with.Judey Bignell presented a sensitive insight into the mind of Dr Helen Boyle, one of the first female GPs in Brighton. She and her partner Dr Mabel Jones made waves by working with women who had what would we identify today as anxiety, and also dealt with the hardship of being gay in 1905. Bignell's approach was not only sensitive, but very focused in all the small details, such as how she took notes, which helped to make her a well-rounded and believable character.Jack Cryer complimented Bignell with her powerful portrayal of Juliet. A woman in the 1990s going through the menopause looking back at her life of activism. This was a down to earth performance that brought a different slant to womanhood with a directness that made us rethink how we see our bodies, and more.Sharon Drain and Amy Sutton provided fantastic performances as laundry women who dealt with so many difficulties for their time periods. Drain's Millicent highlighted the struggles of family and work in 1885, whilst Sutton's Dot examined the spooky crossover of a pandemic in the 1950s when smallpox broke out. And finally, Anna Chloe Moore and Rosa Samuels portrayed young women making a difference. Moore's fiesty Meg was a 1920s suffragette encourging women to vote despite her father objecting. However, Samuells' Ruby showed the harsh reality of physical abuse at the hands of her husband in the 1970s before changing her life by running away to a women's refuge.The staging was much like the show’s title: clean. A simple representation of hanging laundry was placed next to a platform that encouraged women to vote. The additional use of a balcony was an excellent choice, as it added extra height and dynamism to the visual appearance of the stage. All of the instruments were played live on stage by the actors, which really helped to bring the music alive, and to the forefront of the audience’s attention. Accompanying the musical numbers was simple choreography, which was very effective given the small stage space. However, it would be exciting to see what more could be done with the performance’s movement if given a bigger venue. These stories and songs from Clean - The Musical touched everyone's hearts. This show needs to be given a bigger platform given the subjects explored, as well as wonderful writing and performances.

Singing has been proven over time to be beneficial for mindfulness and wellbeing - and not just for the professionals. When the Zoom room opened for Sing for Better Health, a sense of community was immediately established for all who attended as we were warmly welcomed by our group leader Udita Everett. With her experience of being a trained music therapist, First Nature voice/breath/body coach, and Singing for Lung Health leader (as mentioned on the Sing for Better Health website), she was the natural choice to put everyone at ease, whether you were new or had been attending from the original day of launch fourteen years ago.The session began with some mindful breathing exercises to enable us to connect with our breath on a deeper level, such as imagining you had a big balloon on your back, which you had to imagine breathing into for longer sections of songs. There was also an exercise which Udita classed as "joyful gasps" into the ribcage to enable a shorter breath in order to aid with smaller time gaps between each line. This was extremely useful, as no matter what level of singing we were at, these exercises grounded us all and prepared us for the song choices ahead.There were times when some of us didn't know the songs on the list at all, or that well. However, with the mic being muted to prevent Zoom having a massive time lag, as well as the tunes being easy to pick up, it was easy to settle into. With most of the music played and recorded by Polina on the piano, it was extremely enjoyable on a simple level, with no other instruments involved. It meant that we could just focus on our own emotional journeys as we sang, with no worry of being judged, which helped to build inner confidence. Plus the sense of community continued between songs as people shared their joy at the pets appearing on screen and laughing with each other, deepening the connection between them all, which was lovely to watch. For some who were used to working in a more structured way singing wise, like myself for instance, the relaxed mindful approach took a little getting used to. Once we got into the session, and felt safe enough to express ourselves in a way that was right for us as individuals, it felt so natural and was a pleasure to experience.The work that Udita does to bring mindfulness into a creative practice every week is inspirational. Especially as this is not just any singing group, but one that tackles loneliness, brings people out of their shells and improves inner confidence. This was a lovely way to set us up for the day, and is a workshop for any age to enjoy.

It was interesting to see a show that presented the possibility that we take our bodies very much for granted. Legs was presented by Princess Scissors, who encouraged us to look at our relationship with our bodies using the famous Hans Christian Anderson tale of The Little Mermaid as inspiration. Using original songs, dance, body paint and a toy banana to represent a prince, what emerged was a different journey into how we, as individuals, see ourselves. By being close to the action, no matter where we were in the room, we saw Princess Scissors connect with the Little Mermaid character on a physical and emotional level in a very open and vulnerable state. It was also unique to see a mermaid tail being physically suggested by rope. Yet, on another level, it seemed to suggest being tied down, restricted by the mental and physical doubts and fears that can emerge as we grow older. This led us down some very interesting paths. Our princess made such brave choices, that what emerged was not just a performance, but a cathartic experience that came with a content awareness warning at the start in case anyone was triggered by the subjects raised.Whilst this was an interesting show to watch, what may have let it down is the occasional lack of clarity as to whether we were watching another interpretation of The Little Mermaid, or a personal story of self discovery. This potentially could have been distracting for those watching, as the events evolving seemed to go from one extreme to the other, making it hard at times to keep up. What might help is a little more focus on the actual tale itself before bringing in the self exploration side, just to make it more well rounded. Having said that, it does add to the messiness the mental state can be in during times of inner trauma as portrayed.There was also one video segment, which had the potential of being powerful as it showed the reality of the mermaid's transformation from a tail to having legs. However it was a little too long, which potentially ran the risk of people losing interest. Maybe one to two minutes needed to be cut in order to keep the natural flow going. Despite this, it did highlight the painful reality that body transformation can have on an individual.Although sections needed reworking, Legs was a performance that was raw, honest, and open about what we really feel about ourselves deep down. It addressed subjects we might not talk about openly, in a safe and creative way, and it was delivered with such passion and energy, that it made us look at the body differently. With Princess Scissors' positive and sparkling attitude against the dark themes portrayed, it was well balanced, and mindful too.

Antonio is a very interesting character in Shakespeare's Twelfth Night. He has been perceived as a character who has an obsession with Viola's brother, Sebastian. But is there more to this obsession than meets the eye? This is where Fiction Romance steps in, with Patrick Kealey playing a lovestruck Antonio.Fiction Romance explores in-depth the possibility that Antonio is homosexual. In the original play, Antonio does follow Sebastian to Illyria, whilst putting his own life at risk for having wounded Orsino's brother. John Knowles' insightful and heartfelt writing explores the possibility of Antonio finally being given a voice to express how he really feels about the younger man, and what his perception of sexuality is, which is not revealed so openly in Shakespeare's text.Patrick Kealey presents the idea that Antonio was not the hard nosed sea captain he is often portrayed as, but someone with a sensitive nature hiding to protect himself. We found out what happened to him before he met Sebastian, and after he was arrested in Illyria at the end of Twelfth Night. Kealey was brave in his emotional choices, as he candidly stated that he was an addict to love, and that he experienced he had never experienced a love this intense before. He gently invited us into his thought processes, including his honest view of Sebastian, and men in general. Kealey allowed himself to be vulnerable on stage as a performer, which was particularly evident in one part where he compared Sebastian to the bay of Mosquitoes and that he was one of the many stars among them. Not long after this, he said, “Sebastian, you were my iceberg. You killed me, and you kill me still.” That simple statement summed up the deep connection Antonio had with Sebastian, and more. The fact that this then led to some raw emotional outbursts from Kealey, as his anger and frustration emerged, gave the play an added edge, especially as it echoed the widespread experience of unrequited love. Kealey's performance was so heartbreaking to watch that the more we watched, the more we became connected to Antonio, and the more we wanted him to find happiness.Fiction Romance was not just a play, but an emotional rollercoaster that presented a different perspective on love, and left you with a lot of food for thought.

Impromptu Shakespeare had all the right ingredients for a good night out, as well as a genuine love for William Shakespeare's language, plays and the characters involved. Using an empty stage, with very quick costume changes, intuitive characterisation and a good sense of fun, Impromptu Shakespeare created a brand new Shakepearian inspired play in front of our eyes. The way they took the leaping point for the performance was clever in the sense of each audience member being given an orange ping pong ball that had a word written on it that either the Bard himself would have created, or a theme associated with one of his plays. We then when told to had to throw it into the pantaloons of one of the actors and four balls were chosen at random. On this occasion, the words were 'lust', 'a crown', 'twins' and 'revenge' – a good concoction for this show. What emerged was an insightful way that Shakespeare could be adapted for the modern age. It was clear that everyone involved had a strong background in the techniques of Iambic Pentameter, as well as a thorough understanding of the Bard himself. The way each performer took on the challenge of combining Shakespeare with improvisation would be a mammoth task for most people, but here it seemed despite the occasional lack of performance energy and the head mics swallowing their words at odd moments, Impromptu Shakespeare put their heart into creating an experience that not only created raucous comedy, introduced a new audience to the bard, but also made the impromptu plot easy to follow and engage with each character that evolved. It was particularly hilarious when scenes emerged that involved manipulative priests, as well as a liquor called 'Sack' that brought people back to life even though they were brutally murdered.From start to finish, Impromptu Shakespeare kept us on our toes and gave us a strong, well-rounded performance that enabled a fresh appreciation of what Shakespeare used to create his work for those who know him, as well as a fun way to get to know the Bard if you didn't know him at all. The shows are different every time, but the experience is one that will never be forgotten and can see this concept growing further on its already well-established reputation.

Whenever we hear the term 'Yes Queen', these days what automatically pops into our heads is the popular association with RuPaul's Drag Race. However, on this occasion, The Warren was lit up with the West End's first female led improvised comedy troupe called Yes Queens. These saucy and fiesty ladies had a very unique approach in the sense of being completely led by suggestions from the audience to put them into the improvisation games that evolved on stage. These games ranged from improvising a story when different people were pointed at by a 'conductor' role to make sure the game continued seamlessly, to having a scene change direction by an observer shouting 'change'. By being put on the spot, the scene changed direction abruptly and to the hilarity of all watching. With particular games you'd normally see in the popular television series Whose Line is it Anyway?, the Yes Queens not only paid tribute to the series via these games, but added their own flavour to the evening by bringing in interesting choices to keep everyone engaged.One of the big highlights of the show was taking four scripts by four very different playwrights, getting it whittled down to two and improvising a scene that involved extracts from both, as well as improvisation. On this occasion, we had the audience choice of the direct style of Caryl Churchill, alongside the heightened storytelling style of Bertolt Brecht, with the scene set so that it also involved a box with a head in it. This choice of throwing in scripts alongside improvisation seemed like a big risk, but it was one that was not only humourous to watch, but it brought a depth you don't always seem to get in improvisation. That depth was brought by the scripts, which then in return opened up more possibilities to the scene as the girls explored how they viewed body parts and what they were used for. They were not afraid to throw themselves into the material no matter what was thrown at them and the trust that is needed for this kind of performance was evident here. So much so, we couldn't believe that this was completely improvised.But what made Yes Queens work seamlessly was the sauciness and cheekiness of the women involved. Sometimes with improvisation, a lot of groups can play things very safe in case they offend. Not these queens! Due to their bravery in being true to themselves as women, as well as performers, what emerged was an honest, courageous show that not only entertained, but also more than likely has inspired someone to have a voice and maybe also encouraged someone to be themselves. This was and is, one of the big highlights of the Fringe that has to be experienced to be believed, as it will make you laugh, cry and cheer all at the same time.

Blood Glorious Blood was not just your normal one woman show. It was an experience that was part history, part self discovery and part comedy, brought to us by the wonderful Annabelszki. This was focusing in particular on menstruation, how it was viewed over time by both sexes and also what society and mainstream film was doing to make sure this sometimes taboo subject was accepted more, as well as seen in a more positive light.Annabelszki's comedy skills have come on a long way since her past shows. This time, we saw a performer who had not only tightened her material, but also had really given Blood, Glorious Blood a lot of thought with the research involved. She not only was cheeky, teasing us by gradually taking off several layers of underwear as different eras of history were revealed, but also using her daring comic interaction with the audience as she showed us what was in the underwear! As the show progressed with various topics based on real events in her own life, different cultures, social media and more, it became interesting and engaging to watch without a dull moment. It felt like were were watching a reduced version of Eve Essler's The Vagina Monologues, but updated with more information on how, for instance, social media has been part of the movement to encourage the acceptance of menstruation without any stigma attached to it. Part of that movement gave highlight to a sportswoman who took part in a marathon with no period protection to raise awareness of those who do not have access to sanitary products. It showed that she and many others were brave enough to speak about something that was natural to women, but in many cases as indicated by how the media and popular films like Mean Girls for instance, periods developed more of a stigma. This show was Annabelszki's way of breaking the stigma and encouraging us to talk about them positively, which she succeeded with her openness, honesty about her own journey, real stories from other women and more.The main highlight though was her own variation on the Adrian Mole series of books - a social media star called Adrianna Mole. This character not only was funny to watch through her rollerskating antics and sometimes crass approach to periods, but it helped us view menstruation in a more engaging and light-hearted way, rather than focusing too seriously on them.Blood Glorious Blood was a show that was empowering to experience on both a humourous and serious level. Definitely not to be missed.

Anjali Singh has created a show that is a fusion of a Ted Talk, comedy and musical theatre, to depict how much time changes in the blink of an eye. She used this framework to explore different meanings of time throughout history, but still made them relevant to today's experiences of lockdown.Using elements of her own life, as well as moments of seemingly abstract usages of a grandfather clock in the opening scene, Singh immediately set the scene. What if clocks could talk? Do they have families? And what would they make of phones being able to reset themselves automatically and telling the time? The character of the grandfather clock gave us a clever insight to the idea of time being taken (quite literally) for granted. Singh made us recognise how these special clocks no longer have a purpose - especially when we were informed by the grandfather clock that having the time changed "was our Christmases". It was poignant and yet insightfully funny at the same time, due to some of these little asides thrown in for good measure.Despite some of the material needing to be tightened up for better comedy moments, what evolved was a show that had a mixture of everything in it, which made it have something for everyone. Some of the show's highlights included songs influenced by the popular musical Hamilton to indicate how certain eras looked at time. One highlight involved looking at periods in history where time in itself was difficult. For example, there was an examination of the people who worked on the land centuries ago, who during some seasons had a lot of work, whereas in the next periods they had none whatsoever. It was suggested that on those occasions, time fluctuated so much that it was hard to know what to do with it. The fact that this was a direct mirror to the recent lockdowns brought home the fact that time is precious and we have to make the most of it, no matter what is thrown at us. This was a bold move, but it really made us think about time in more detail, due to the sheer unpredictability of the beast.But what made A Matter of Time special was Singh's own experience of time itself. Being bad with time, schedules, deadlines, body clocks for wanting children, as well as her own awkward relationship with her mother, who seemed like an army major keeping her privates in check. This not only made the show a very personal journey which we felt privileged to be invited into through her open and honest nature, but also it was a risk that enabled all who saw it rethink about their relationship with time in a more positive way.This is a show that, with a little more tightening in places, could be one of the strongest highlights of the Fringe this year. Singh is a versatile performer, with a voice to be heard. Do not miss it.

Brighton got their boogie shoes on as they danced around Brighton with Boogie Shoes Silent Disco Walking Party under the guidance of our ship's captain Mama Roo and her shipmates. What evolved may have seemed strange to many people watching a gang of fun individuals with wireless headphones on, singing at the top of our lungs and dancing round Brighton's famous Laines, but actually having the joy of knowing what a silent disco was added to the fun.We were welcomed at the Victoria Fountain with a warmth from Mama Roo that was carried on throughout the next hour. She made sure we were safe and maintaining social distance as much as we could, despite Brighton being busy with tourists that day. She brought a lot of her own vibrant nature to the disco as she taught us simple dance moves that could be incorporated into our walking tour. Her banter with us helped us to feel fully engaged with the experience, as well as empowered to express ourselves movement wise, no matter what stage of fitness we were at. The choice of music in our headphones had a great balance of classics such as Night Fever and Stayin' Alive by The Bee Gees, Boney M's Rasputin and many more, alongside modern classics such as Dance Monkey by Tones and I, and the recently infamous sea shanty Wellerman by Nathan Evans. Offering such a wide range of tunes meant that no one felt left out, and it certainly showed in the smiling faces of everyone taking part. So much so, all inhibitions were left behind as we danced on the beach, in the middle of the Laines and 'walked the plank' to the coach station. Even if there were people who were unsure what to do during the walk, the shipmates of Mama Roo were immediately on hand to put them on the right track with a smile.Boogie Shoes Silent Disco Walking Party added a different vibe to the walking tour section of Brighton Fringe this year that felt like a party that only we knew about. If you love dancing and walking tours, this is the one to fully emmerse yourself in, as it was an experience no one would ever forget in the best possible way. Everyone came away with a different experience, but each one had the common connection of having had fun and a lot of exercise!

Ellie is a schoolgirl with a very bright future ahead of her. When told by the voice of St Peter that she is the Messiah, her world began to change rapidly. Is everything all that it seems?The True Story of the Little Girl Who Thought She Was The Second Coming of Jesus Christ had elements to it that were reminiscent of Monty Python's The Life of Brian with some of the energetic physicality portrayed by Romy, as well as comedy moments that included breaking the fourth wall to remind us it was a story being portrayed and not 'actually real' as Romy cheekily reminded us. The characterisation of Romy carried us on a journey of self discovery as a person, as well as spiritually with such enthusiasm that it was hard not to connect with her as she dealt with bullies, a teacher called 'Mr Loud' and a desperate desire to get into the school play. Having the belief of being the Messiah made the performance well rounded, as she was able to play with the possibility of self belief that she could achieve all she wanted to. There were a couple of occasions where it was not clearly depicted what character she was playing. For instance, a boy at school she fancied seemed like it was just an extension of Romy and not a separate character. This however should evolve over time as Romy grows with more confidence in her ability as a performer.Sadly, this production was let down structurally by the script in the first half. When using the technique of breaking the fourth wall as a narrator, it can be a great way of engaging the audience and bringing a certain energy to a play such as this. Unfortunately, what didn't work in particular was the jarring usage of switching between a first and third person style narrative. This was due to the fact that whilst it was clear the story had to be shared with us, it would have worked better had the narrative stayed with first person to make it a lot more personal and easier to keep track of. It seemed a bit distracting going swiftly from one to the other. Also, there was one element that was too long in length. This showed Ellie getting more and more frustrated by every day routines by using Depeche Mode's Personal Jesus as a background, with several images on a screen behind her and a lot of repetitive actions, until Ellie couldn't take much more of the monotonous lifestyle ahead of her, with no sign of St Peter. If it had been cut down a little, we would have had a more intense impact of the scene that evolved.Luckily, the second half rectified itself by becoming a stronger, tighter and smooth running show, which was extremely enjoyable to watch. With a few more tweaks, this could be a show that has a good future ahead of it.

Char Brockes and Jack O'Neill (Ava Cardo) brought the Rialto Theatre to life with their unique styles of drag and slapstick comedy, in order to explore the theme of Romantic Comedy in a way that was not only fun, but thought provoking. Particularly in relations to how people are quick to judge couples who may not fit in with what we perceive to be 'normal'. Lionel (Brockes) is a loving, sweet honest man who would make any woman happy. Cindy (O'Neill) is an outspoken, fun loving woman who relishes life and enjoys it to the full. The trouble is, Lionel is so short and Cindy is extremely tall. Will this unusual pairing work in the normal world?The strong storyline was told via voiceovers as if from the characters' perspectives as narrators, and combined with physical comedic theatre, music and cheeky innuendos that were reminiscent of the classic Carry On franchise and the famous partnership of Sid James and Barbara Windsor (only the sexes were reversed). All together, Lionel and Cindy was a show that not only was a showcase of the art of being a drag artist in a play context, but an experience that reminded us that love is universal and when taken for granted and not worked on, it can fall by the wayside. It had many poignant moments: sheer happiness when the couple are with each other, sadness when they lost someone close to them, a desire to be accepted in the world as a couple, and an emotional journey when an event involving a hit and run with a cow threatens to destroy their happiness.Brockes and O'Neill are performers who are not afraid to challenge perceptions of relationships, or physicality through the clear dedication and hard work they put into this show. The small physical details involved with each placement of the hand, the looks into each others eyes and more, spoke more than the actual voiceover narration did at times to show how deeply in love Lionel and Cindy were. It would be interesting to see an alternative version where the non-speaking elements are explored more with no narration to see what happens to these two. At times that nonverbal communication touched on a raw emotional state that couldn't be put into words, which indicated every stage in their relationship so clearly that it was automatically engaging and easy to follow. Even the simple use of every day items, such a head of broccoli to indicate a wedding bouquet and toilet rolls to form a wedding dress were beautiful touches that added a certain charm to the piece that could also if they wanted to, be transferred easily to film as well as stage.Lionel and Cindy is a show which will make you cry with laughter as well as sadness. Plus give you a deeper appreciation of love. This is a show not to be missed.

Notflix was a musical experience with a twist. Everything was improvised, including the original songs. Using inspiration from audience suggestions based on what they had seen recently on Netflix and related streaming sites, the company chose two options and got the audience to vote for what they wanted to see improvised and turned into a musical.The day I saw this show, the audience choice was focusing on the 2020 version of Jane Austen's Emma. The Notflix team then asked the person who suggested Emma about the theme within this story and what scene was particularly memorable. Once that was established, the magic unfolded in front of our eyes and we couldn't believe this was improvised. The way it was performed was so slick and precise that it was almost as if they had been rehearsing it for months.The team (who included people such as Claire Buckingham, Holly Mallett, Ailis Duff and Aisling Groves-McKowen) brought the stage to life, as they focused on the theme of not judging others, as well as the lead up to the socialite picnic. The characters of Emma, Harriet, Mr Knightley, his servant Martin, and gardeners Terry and Barry were charming, yet full of saucy innuendos as the modern day and Austen's period world fused together. It did not matter if the wrong time period was occasionally mentioned as this fiesty band of women pulled together and made the whole experience well rounded and thoroughly enjoyable to watch with much banter, and laughter. There were also visible corpsing moments, and a physicality of performance as they emulated corsets, whilst at other times creating beautiful moments that were genuinely moving. Each relationship depicted on stage reflected the clear bond these women had as a company and, because of this, some extremely strong performances emerged.Several highlights showcasing this involved Ailis Duff playing Mr Knightley, a character who struggled with what society expected of him and his own feelings towards Martin. Duff clearly loved experimenting with anything that sent up how tall she was and made Knightley engaging, yet off-putting at the same time with his vanity and arrogance. Likewise Clare Buckingham's gardener role really showcased her strength in playing roles that were down to earth; she was not afraid to get her hands dirty. Plus the fact she was one of the main stars responsible for a lot of the innuendos, including the instant classic "will you hold my trowel Terry?". On the surface, this was a simple question, but her gruff character voice managed to make it sound incredibly saucy.A special highlight has to go to Emma's plain looking friend Harriet who had her own song. This was in the style of Alexander Hamilton, the opening song from the musical Hamilton, only with the name and theme changed to Harriet. In terms of Notflix's songs, this was the one that stood out for its simplicity and rawness in emotion.A huge highlight of the Fringe, Notflix changes films every time and is never the same. But what is sure to be a consistent factor is the fun and joy from everyone involved.

During both lockdowns, everyone experienced something being taken away that we possibly have taken a lot for granted. The power of human touch. When that is taken away, what is left? What other methods could we resort to in order to potentially replace touch? Touch Hunger explored the elements of touch, smell and taste which gave a different take of embracing a new way of replicating what has been lost. Everything took place in the beautiful setting of the garden of The Friends' Meeting House in Brighton's famous South Laines, gently reminding us to switch off and get back to nature by allowing the sights, sounds and smells influence our individual awareness of being. From the use of hand sanitiser infused with essential oils such as lavender and sandalwood, to feeling the grass beneath our bare feet and eating a tangerine by savouring the feel of the skin, then peeling it away and being encouraged to savour and play with our food, rather than just eating it. For some, this meant being allowed to squash the tangerine and letting the juices flow between their fingers creating a squeal of joy. For others, it meant actually slowing down and savouring the flavour of each piece of the fruit as they bit into it. Some even found their playful side by pulling away the strands of the tangerine as it got separated forming 'spiders' as they were called.All these things mentioned may appear too simplistic at first, but actually experiencing these in the flesh was a blissful way to strip away what we may think we know about the simple things in life, such as food, in order to get back to basics and reconnect with what makes us joyful. Being allowed to reconnect with ourselves in a safe environment under the watchful eyes of Ali Hannon and Clare Plumley using these methods, enabled us to just be in the moment and ground ourselves properly whilst the world slowly embraces a new normality of being around people. We were also encouraged to make our own concoction using the tangerine, mint, lemongrass and more natural ingredients provided by the two ladies to look after our insides using the new techniques of allowing ourselves to play and savour each smell, taste and more. This was a refreshing take on what we can do to recreate the feeling of a hug from the inside out using these holistic and natural practices to enable this process to occur.There were other elements to experience, but in order to find out what they are, this event is not to be missed. Touch Hunger is not just an event, but an in-depth experience to be had. A well needed contrast to the hustle and bustle of the Fringe to allow us to be still for just a moment. Highly recommended.

Despite some technical issues with the Brighton Fringe website, this Greek Mythology Creative Writing Workshop run by Amanda Potter (from the Open University) was a good way to get our creative juices flowing in the morning, setting us up for the day.Potter was extremely enthusiastic about the Greek Gods and Goddesses and swiftly proceeded after some brief introductions to show us a family tree of how everyone was interlinked originally in Ancient Greece. This was a very simple approach that enabled everyone to engage with the material provided and the journey ahead easily, in order to help us connect with who these people were to create either our own versions of a God or Goddess of our choice, or a different character associated with them. Using various questions, we created the characters for our stories (I chose Aphrodite for mine) and really enjoyed letting our imaginations start to play. Even hearing some of the other versions portrayed was interesting to engage with. A particular highlight was hearing about someone related to Hermes who was trying to get to the Minotaur to finish what had been started long ago.But if that sort of exercise wasn't your cup of tea, then we began creating a story structure using things like fairy tale element cards and famous paintings to create storylines that we wouldn't normally expect in Greek Myths. This alongside Potter's gentle and positive supportive nature, enabled us to feel safe to explore and play with different aspects of our chosen characters. For instance, with the fairy tale cards, we got a forest setting, an owl and a sword as our elements to explore. What emerged was a plethora of worlds that were not our own, plus in some instances, we got to see what the other characters were thinking at that moment in time.But the real highlight was using an opening line of well known poems associated with the Greek Myths to create a journey. One of them being "Changes of shape, new forms are the theme which my spirit impels me now to recite" (Ovid - Metamorphoses). Some found it harder due to the poems being well known, so the pressure of creating something was evident. But that pressure for others was an immediate connection to the character building exercise at the beginning of the workshop and found more interesting ways to explore their character's journey. For some, they found a different character to work with because of the opening line chosen and that was more than acceptible according to Potter. The idea was to allow ourselves to grow in confidence in writing using a different way to unleash our creativity.This workshop will leave you with a lot of food for thought and a deeper connection with Greek Mythology if that is a passion needing to be fulfilled. But it is also designed for those with little or no experience to kickstart the discovery of these powerful beings for yourselves.

Big Quiffy Bingo was a show that was full of glitz and glamour, thanks to the host of the evening Boogaloo Stu. He and his bingo butler sidekick Bertie Balls gave a very different slant to what we perceive Bingo to be. It was full of music, banter, adult humour (which he pre-warned everyone about at the beginning) and very silly, yet fun games such as 'Knickers, Knackers or Knockers' where we had to guess which of these three things were in the golden envelopes to win a prize. Both of them seemed to have something covered for everyone, even if you were not a fan of the main game itself, but love anything that is influenced by game shows of the 1970s onwards.Bingo, a lot of the time can be simply focusing on calling numbers out with the tradional catchphrases associated with them (an example being Two Little Ducks - 22). But Stu always had a cheeky adult slant on the numbers, which included unusual comedic foreplay ideas involving different parts of the body, as well as looking at food such as cereal and chocolate in relation to sex (I will never look at Special K or Double Deckers the same way again). Despite there being times when the adult humour went on a little too long, the energy he brought to the evening as a host was nothing but upbeat and positive; plus he was extremely grateful to have a live audience again. It didn't matter whether he was bossing Bertie Balls about, hosting the main game, or playing mini games to liven the atmosphere, he had the audience in the palm of his hands. Maybe with some slight shortening of the material at times, it would become a perfect show for the fringe.Bertie Balls was a good comedy partner to Boogaloo Stu, as physical theatrical comedy was used rather than words, to compliment the glamour happening on stage. The way the butler interacted with the audience had a feeling of Laurel and Hardy at times and seemed to remind some of a period when this type of performance was popular - especially when the audience plaque cards were held up at appropriate moments to encourage participation. Maybe more could be made of this character so we could see further interaction with Stu to establish more of a partnership, rather than just someone to help pass papers out and collect bingo cards with the comedy interaction in the audience and the odd interaction with Stu.If you are the sort of person who is easily offended by adult material, then this may not be the show for you. However, whatever your taste and preferences, Big Quiffy Bingo has everything to bring a smile to even the hardest of hearts and is an extremely fun night to experience.

Reality and fiction fuse in this interesting piece focusing on the paranormal world, as a TV editor called Sam struggles to accept where the lines of reality lie when asked to change their show so that it is more in line with popular reality TV shows. As Sam also deals with their own past, they falls into a downward spiral while being challenged with what is real or not.Emily Carding played Sam with such a subtle preciseness in all their emotions and actions, that even when watching them, we became emotionally involved. Change as a whole in life is a tough transition to make, so when Sam heard from their new boss about making changes to the TV show, the sarcastic frustration that emerged in the first instance made the journey a strong one; particularly as more footage emerged from past shows they had helped created and what Sam was supposed to aim for in future ones involving potentially fake reenactments of ghost hunts. As soon as Sam saw the reality of what was ahead of them, we saw another subtle change from being a confident person, into someone who was vulnerable by not dealing with their own ghosts - until now. Carding was mesmerising to watch in this role as we saw their character slowly became more and more drunk while they watched the details emerge from the camera footage on their computer as the play progressed.As that footage went on, we saw on a separate TV screen all that Sam saw in real time. In itself, this was a clever device, as it kept us watching to see if there were any links between the past and present as Sam saw it. However, this did let the piece down slightly in the sense of overlapping too much with Carding's words once or twice as Sam dictated emails to their new boss via their voice recognition system on their iPad. For some, this may have been a little confusing with the struggle of who or what to focus on at that moment in time and the intensity of Carding's words were potentially lost. Despite this, the usage of the technology added to the chaotic state of Sam's mindset as more details were revealed. To see what happened next, go and watch There's a Ghost in my House if you dare...There's a Ghost in My House showed many layers of the human mind as it deals with trauma and change accordingly. This is not a show for the faint hearted, but if you love a show that builds up tension well and challenges what we perceive to be ghosts, then this is the one to watch.

Bring together the work of Jane Austen and the modern world of dating together to create a murder mystery with a twist you get An Austentatious Murder. Using the works of Jane Austen, an algorithm has been created in order to find a perfect love match on an matchmaking app. Between the characters Clyde Enpredjudice (Austen expert) and Dan Sfieldpark (co-founder of the app), they believe in the concept that Austen had the right idea when it came to romance, and their collaboration would be the one that would solve all dating issues, based on information and a points system submitted to create a dating profile. When a murder occurs during their app launch, we (as the audience) are left to solve the mystery.What evolved was a fun, interactive experience, which challenged our minds and at times our knowledge of Austen, working out who killed Ann Sfieldpark (Dan's ex-wife), who has apparently been stabbed through the heart with a hat pin. Or was it?We were placed into teams in Zoom's breakout rooms and, using an extremely well put together clues pack, we gradually pieced together the information we needed to solve the mystery, whilst also listening to the characters' various testimonies. These performances were not only extremely well researched in terms of period costumes and virtual backgrounds, but at times it was like being in our own living Austen novel due to the language they used. The performances were so entertaining, they almost verged on the edge of pantomime, especially when there some were interactions from the audience were encouraged when everyone was together in the main Zoom room. It didn't matter whether you knew a lot about Austen's novels, as the main focus was on the relationships of the characters present in the show. One of particular interest was the aptly named Susan Sensibility - a journalist who knew the victim from university. They were good friends and originally had a good friendship until this new app came along. Watching the reasons behind why this relationship disintegrated was very much worth experiencing; especially as all four characters (including financial backer Percy Uasion) are seemingly unrelated to each other. One issue that did confuse some attendees was the time restriction to look through and absorb the information. We were also asked to create a limerick, which Austen loved to read herself. This was a lovely authentic touch to the proceedings, but occasionally it felt like the timings were slighty too short to look at everything properly as events evolved. It may benefit occasionally from just having an extra minute or two, with maybe leaving the addition of the limerick as an option if time is on everyone's sides. Even though it was made clear that it didn't matter if people didn't manage to write one, just having the reassurance that it is an option might help those who were concentrating on the details of the murder plot more.Having said this, An Austentatious Murder is a well constructed performance that is both detailed and authentic to the spirit of Austen's work, but with a modern twist. It has the right mix of character work and immersive theatre to create a memorable experience for all.

Looking to portay the idea of someone who is trapped both mentally and physically in a cell, Ghislaine/Gabler follows our protagonist as she tries to justify her involvement in a crime by looking back at her own relationship with her father, as well as with men in general. The performance explored the idea of what really makes a person a monster, especially when it is revealed she keeps having dreams of being Henrik Ibsen's Hedda Gabler, whom her father kept praising throughout her childhood. This show was created by the show's performer, Kristen Winters. She became fascinated by both the real life Ghislaine Maxwell, the British socialite known for her association with convicted sex offender Jeffrey Epstein, as well as the fictional character of Hedda Gabler. Winters has managed to find aspects in common between these seemingly unrelated women, such as them both wanting to be accepted in society by any means, the powerful (and mostly corrupt) men they were associated with, and them both feeling that they are a pawn in these men's schemes and taking the fall for them, "sorting out his mess" as Ghislaine aptly put it.What evolved was a theatre show that was thought provoking, as it explored mental health issues, and the concept of what it is like to be trapped mentally and physically. Some of the subjects raised may have been triggering for some, as there was discussion of suicide attempts, as well as physical and mental abuse at the hands of her father. The way Winters explored these subjects was raw and sensitively handled. The use of physical abstract theatre alongside a pair of tights helped to show the unstableness of Ghislaine as she reflected on her actions. It became a piece that was at times uncomfortable to watch, but you couldn't help but want to continue to be a voyeur as she faced her inner demons. This was aided by the voice of Hedda Gabler in her head, which added another layer of mental comfort to her, as well as potentially suggesting that her character is schizophrenic. By doing it in this way, the character was able to slowly justify that she was not responsible for her actions, even though some of the flashbacks indicated she could have been.Ghislaine/Gabler benefited from having a strong performer in Winters, as she allowed herself to explore her inner monster. She was more than able to hold the viewer's attention as each layer of her character's onion was peeled away. Her ability to create someone who was, in many ways, trapped was a triumph, as she made sure the manic nature of Ghislaine's mind was channelled both physically and vocally. One minute she was cool and calm, the next like a hamster on a wheel in a cage with nowhere to go. The very minimalistic set consisted of only a black stage with a black box and a white taped border, which indicated a smaller space to work within. The only addition to this was a basic floor mic, which added to the simplistic intensity of all that then evolved within the space.This show is not for those of a sensitive nature, or those easily triggered by difficult and emotional topics. However, those who love psychological profile explorations will no doubt become engaged with the material presented.

We all have secrets to keep. But what if you had a secret that was so terrible, that you could not say anything to anyone in case you were not believed? Alice was one of many who have a secret like this and in The Doll Who Came To Tea, we saw how damaged she was. Using mixed media, including using our mobile phones and headphones so we could hear the voices in Alice's head as she heard them, plus videos of real life stories to raise awareness that this does happen behind closed doors, there was a sense of horror as the reality gradually unfolded. What particularly worked alongside the strong performance was the clever use of breaking the fourth wall with the two actresses talking to the audience and their stage manager taking us on the emotional journey portrayed. This included pointedly that we listen on our headphones at a certain point and what videos to show. It may seem to some that this was a rather odd thing to do by breaking the action, but if anything it actually added to the fragmented mindset of Alice and I think this needs to be made more inclusive in the show.Louisa Delaluz, who played Alice, threw herself completely into the role and was not afraid to show the vulnerability of this woman who tried to shut out the voices in her head that were swimming around trying to bring her down. All she wanted to do was celebrate her 50th birthday with a doll named after her late sister. The way she portrayed Alice was so insightful and realistic that all the side effects of the trauma as it was referred to were so natural and easy to connect with. Even the interactions she had with a food delivery woman and the smart-meter installed (two separate characters played by Eire O'Halloran) showed that all she wanted to do was speak about what happened to someone... anyone, so she could be free. The doll seemed to be a simple but dramatic device that reflected trying to keep the past alive, as well as a way to allow Alice to be reminded of all that happened to her. This not only helped us to engage with how Alice felt, but more importantly the fact that she wanted to stay in a child-like state to close that part of her life and it worked well because of that symbolism.This play may be a work in progress, but it already is a big highlight of Brighton Fringe with a very strong future ahead of it. This is one to watch out for and is not for those who are easily triggered by trauma.

Those who know of William Shakespeare will probably recognise several of his intricate plots. But do we really know a lot about the female characters that are a huge part of what makes Shakespeare special? These women portrayed in this insightful piece of theatre, captured on camera, portray what makes them come to life, using modern settings alongside the original text.First up was Mistress Quickly, who appears in several of Shakespeare's works, played with style and fiesty passion by Delena Gabbidon. She relished the opportunity to play a scheming woman, carrying out her plan to catch the man in action out with his womanising and more. The energy she used to portray the saucy Quickly was full of confidence and wit, with her clear essence of being comfortable in her own skin as she drew us in.Jo Lainchbury changed the pace with her own interpretation of Sonnet 15. Using footage of her and her daughter enjoying simple pleasures like playing on the swings and creating memorable moments together, really highlighted the words that enabled them to leap off the page. This was a period of stillness that reminded us that just a simple connection through laughter and joy was perfect in her eyes.It followed with As You Like It's Rosalind (Rachel Wilmshurst) as she tried to keep her disguise strong whilst playing with Orlando's mindset. It seemed a little strange to use bandages on her face at first, but as the piece went on, it became clear it accompanied a strong performance as she was allowed herself to play with being someone else for a moment, before revealing who she was underneath.Steph Ammerlaan's Helena (inspired by the character from A Midsummer Night's Dream) found out her husband didn't love her through social media. Her heartbreak was well controlled, eventually finding an inner strength for what she must do next to help her through this. Introducing social media into this scene really added to the abruptness of the reality in front of her, due to the disconnected approach text can have, rather than face to face.Ophelia's mad speech was portrayed well by Gabbie Love with her beautiful singing voice and matter of fact approach to show her mental state. Despite feeling at times that the musical choices were too jolly, the symbolic use of the water added to the danger of the scene and worked well as a prediction of what would be to come.Charlotte Clarke played a moving Cordelia as she looked after her ill father, King Lear. Her simplistic approach to calling out for help to protect him, combined with her own emotional journey was so powerful that you couldn't help but also want him to live.Shana Gabbidon's Julia (The Two Gentlemen of Verona) had a well executed speech, as she examined her relationship to Proteus. However, it seemed like she wasn't fully connected with her character's emotional arc for it to work at times. She perhaps needed more confidence in her ability as an actress, which will come over time.And finally, Claire Dovey-Wilson's portrayal of Phoebe was not as a shepherdess as she was in As You Like It, but instead a glamorous woman who was dismissing the fact she loved 'Rosalind' in male form. She gradually revealed her love with such calm precision, albeit with a vulnerable edge, that it made a favourable finish to this showcase.

Mock the Greek was a show that sent up the myths and legends of Greece. Dodo Dramatics used the art of "ham-ature dramatics" to give a different take on these myths and see what happens when comedy and Greek Tragedy combine.Whilst this show had some good moments, sadly a lot of it fell flat with its approach. One example is when they combined puppetry with real life people to create the action that unfolded on screen. The puppetry aspects were slick and well put together to create elemnents like a stormy sea, the minotaur and Medusa's snakes in her hair, plus the puppets seemed to have more energy in their performance, as opposed to when we saw the 'real life' characters, such as Detrius. It seemed that as soon as the real life action happened, the energy in performance dropped and the uncertainty about what they were doing became evident. Maybe a suggestion to help make things run a lot more smoothly would be to deliberately stick with the puppetry and allow themselves to have more fun with it, rather than have the disjointed sensation of going between the two different states.Another issue seemed to be having moments that appeared a little too random for what they were trying to do with Mock the Greek, such as playing What Shall We do with the Drunken Sailor and having the Trojan Horse brought in by a builder. These seemed to be tactics to fill the gaps in between the action, and were not necessarily relevant to the sequence. Again, if maybe a different song was to be chosen that was more in keeping with the period for the storm, and the usage of puppets and sets had been made more of, then it would be a funnier approach to this piece.Having said all this, there were two other highlights during the show. The Minotaur (voiced by Ronnie Martin) was portrayed by a stuffed toy, operated by two girls, and was seen as a vain creature. There were elements reminiscent of Monty Python and the Holy Grail's Black Knight sketch with all sorts of body parts being chopped off. Also, Medusa herself (played by Trudi License) was a great character. Her portrayal was as a spolit girl who can't get herself a man, with snakes for hair that were her 'yes' people. The best line she had was mentioned after a disastrous date: "nothing was set in stone!" However, it was the snakes who stole the show as they showed themselves to be two faced. Nice one moment, then nasty as soon as she fell asleep.Mock the Greek needs a lot of work, but by concentrating more on the puppetry and sets and raising the performance energy, this has potential to grow into something special.

The Late Show was a comedy night that lit up The Warren with much needed silliness, laughter and joy with the return of live shows. This was evident with all acts involved. Despite the delay in starting, it was clear that all who attended were looking forward to a good late night of entertainment.The three acts involved were very different in their styles of delivery and in their handling of heckling, but all of them clearly relished the opportunity to be on stage again. Especially the first act, Maisy Adams. She was full of energy, positive and honest in her approach to her material as she shared her journey through both lockdowns, plus showed her gratitude to everyone for even showing up. The highlight was when she mentioned that she missed performing and got the shout out of 'We missed you!'. She responded, 'That is the lovliest heckle I have ever received. Thank you!'Comedy trio Privates followed after Maisy's set with what can only be described as a very obscure combination of pantomime, surrealism and 'Allo 'Allo. We had a French chef, who was a wannabe inventor with wine pouring from his hat and with a rather unusual sanitising unit. He was a good, strong performer but seemed to be rather overwhelmed when the heckling started up again. He carried on well and introduced Daisy the Cow to the stage. This could have been a really strong section comedy-wise, however there were too many repeatitive elements to it with one joke that involved the cow weeing on his face, plus it seemed like it was going into territory that was a little too physically surreal at times.Our headliner act Zoe Lyons really brought the energy back up with her very ascerbic wit and bold directness, which seemed to be new for her, especially since becoming single during lockdown. She was not afraid to go to places that a lot of us were familiar with in terms of mental health, failing relationships, enjoying faking reasons not to go to weddings and hair appointments. As her set progressed, it was clear that she was becoming more playful in her wording and relished every minute she was on. Even when she had techinical difficulties with her microphone, she handled it like the professional she was and made it part of the act.The Late Show was a night to remember with it heralding the official opening of the Fringe. A creative and experimental night that lifts everyone's spirits and hits the reset button from these uncertain times in a safe and happy environment.

Meet Millie. She is exploring who she is and trying to conquer the constant battles that women have to face, like periods (or lack-of in this instance, until the age of fifteen), boyfriends and so-called friendships. This work in progress piece is a strong one woman show that not only made the audience laugh through a common connection with a lot of the themes on offer, but also made us think about our own respective journeys in self discovery as we watched Millie go on her own. There were things that could be reworked slightly to make it run more smoothly – like being more confident in the material performed and written, and sightlines were great for those who near the front, but for those at the back of the auditorium it was more difficult to see what was going on due to scenes staged on the floor. Despite this – even if you couldn't see – you could feel that she was at rock bottom thanks to the music that was adapted to every mood possible.One very clever technique that was used during the show was using famous and not-so-famous pseudonyms to protect the identities of the people who influenced Millie's life. The two that stuck out was her grandmother being the kind, caring and encouraging Mrs Doubtfire (without the bad housework) and an ex boyfriend who was Captain Jack Sparrow (say no more). Using these familiar character names, we immediately got a picture of who these people were and got a glimpse into the mind of Millie at those moments in time.Some of the themes explored, like being a tomboy and contraception issues, were highlighted in such a way that even if you didn't resonate with them, you still were entertained. It's always tricky in a show like this to get the audience on board from the word go, but the way that Millie kept her upbeat energy going, as well as her self depricating attitude, kept the audience engaged. The big highlight to demonstrate her skill as a comedienne was when she came to explore the effects of different types of contraception using the game of bingo as a way to get the audience interacting by various envelopes stuck on the back of the chairs. By encouraging them to read out sometimes tricky words for comic effect in a random order, we got further insights into other stages of her life as well as the effects most women encounter on this type of discovery.There Was A Little Girl has great potential to succeed going forward. By making just simple tweaks, this will be a show that is a force to be reckoned with.

The Brighton Open Air Theatre was full of joy, not just because of theatre starting again after recent uncertain times, but due to The Lady in the Van being the opening show of the fringe festival. Alan Bennett wrote this piece after he met Mary Teresa Sheppard; a troubled woman who parked her van in his garden in Camden for 15 years after fleeing the scene of a tragic hit and run accident. This unique friendship stayed with him for a very long time well after her death and it seemed from the writing that he wanted to in his own way highlight the impact that mental health has on everyone; good or bad. The majority of the audience who attended would have seen the film that brought this play into the limelight starring Maggie Smith, so the stakes were high. What evolved was a piece that was poignant, funny and educational. The simple scenery involved a few tables and chairs on one side of the stage to indicate Bennett's home and on the other, a well constructed movable frame to indicate the van. It gave a clear distinction between the home and the street. At times, that simplicity was all that was visually needed to show the harsh contrast of a comfortable home versus the outside world. But it also explored symbolically that perceptions of what we think we know can be completely different. For instance, during this period, Bennett's mother was going through her own physical and mental health journey at the time that he and Mary talked. In a weird sort of way at that moment, their worlds became the same in the sense of what we see as being trapped in our own hell – especially as Mary did not like being incarcerated in an asylum prior to meeting Bennett.The Sarah Mann Company not only brought The Lady in the Van to life on stage, but made each character well rounded and engaging. The older and younger Alans (played by Paul Moriaty and Nathan Ariss) had a good connection as the younger Alan (Ariss) took us through the story, whilst the older Alan (Moriaty) taunted him for things he hadn't done or said to her to balance everything out. Sarah Mann gave an insightful and powerful performance as Miss Shepherd – she displayed both eccentricity as well as a vulnerability that moved the audience as she at times reflected on her painful past. Plus special mentions have to go to Pip Henderson, Jack Kristiansen, Nick Bartlett and Harry Bain as they played various colourful characters to aid the story.The Lady in the Van was an extremely strong start to the fringe and will definitely be one of the plays everyone will remember for its insightful take on friendships and acceptance, as well as extremely memorable performances that were sensitive and aptly funny.

Annabelszki took to the stage to give a thought provoking, challenging and uplifting insight into the role of women and feminism from a lesbian point of view. Using poetry, visual aids, simple props (including a wine bottle, detergent, drinking glasses and shoes), as well as historical women through the ages, the audience were invited to look at how women are represented in the workforce, dating, menstruation, the media and more from a different angle. We as a nation are so used to what we are shown in front of us that we automatically make assumptions, but Annabelszki challenges those assumptions in a relatable way that makes us rethink what we see, or even what we think we see; especially when it comes to the role of women as a whole.A strong start to the show with a feminist poem and a shoe buying sketch immediately set the tone in the sense of how women are perceived physically. Whether it was clothing, beauty, shaved/unshaven legs or attitude, what emerged throughout the evening was the perfect mixture of comedic observations, serious moments highlighting the reality of history versus now and poetical insights that made Smashing a unique show that is needed more than ever in these unsettling times. She made everyone watching feel part of the action as it developed by interacting and engaging with us and balanced this out at times by turning the concept of Smashing into what seemed to be a lecture with a performance twist. This especially worked well when it came to the more than relatable topic for us females of menstruation. The highlight came in the form of a 'period tool belt' as she aptly and enthusiastically demonstrated. Not only did it highlight that this part of a woman’s life is taken for granted, but that she was not afraid to strip this down to the bare basics and share her struggles with it, which added a beautiful personal touch to the experience.The audience may have been small that night and quiet, but all their laughter and responses to the material as it evolved were engaged, positive and extremely supportive. Someone was overheard saying to Annabelszki how powerful the show was and given the fact she took us on an interesting and exciting journey as aforementioned, this reaction reflected the show as it truly was. An artistic fusion that brought an intriguing insight into feminsim. She also handled banter that occurred with class and decorum.When watching Smashing, those who are of an age to remember the earlier sketches of the Two Ronnies may recognise a certain Mastermind sketch, but with a very clever and intelligent twist that ties everything in the show together neatly. With this in mind, Annabelszki’s creative mind has once again created a piece that needs to be acknowledged for her strong performance skills and original writing with insight and sensitivity.

Matt Hoss is a man on a mission. A mission to create a fusion of comedy and a reflective, honest approach to the world of dating and being recently single. Based on real life events, he created this show as he was going through the toughest times of his life, so his comedy had a diverse range of being reflective and intense as he examined his love life, to cheeky and scatty comments to relieve the more dramatic moments. It did not matter what he mentioned, the pathos behind each punchline brought a different slant to his style of comedy. One moment he talked about personal heartbreak with the love of his life "Matilda", the next he was classing himself as the "King of too much" as he talked about his personal romantic gestures and the process of finding his "cool line" to keep a woman interested.Hoss said that art is a way to get back control in your life. This felt very authentic, as he approached each story in an engaging and relatable way to keep the audience on side rather than try too hard to impress everyone. However, the style of the show seemed a little unpredictable to follow in places, so he ran the risk of losing our interest. Despite this, rather than let the material that didn’t work affect him personally, he was not afraid to highlight the failure and made a cheeky mention of it in an almost dismissive fashion, which charmed those watching it and regained control of his art form. What made this a very unique show was that despite the rather scattered style of comedy which matched his life at the time, he made the material work for him in the sense he was not afraid to mention topics we could all relate to, such as mental health in men, self worth and going through hard times to come out a better person. In many ways, because the material was autobiographical, what emerged was something that was half empowerment talk, half comedy show. Even the awkward silences that emerged added to the quirky, but gentle nature Matt Hoss brought to the stage. At times he seemed uncertain of how far to push his material, but when he did find a good way of portraying it, his energy to every word mentioned became heightened and more relaxed than it was at the start.This is a show that, with a bit more confidence in himself as a writer and performer, will grow stronger and seems best suited to those who want gentler approach in general to comedy as opposed to something more harsh in outlook.

An enchanting stage show based on the 2010 book by Julia Donaldson, Zog follows a young dragon of the same name who only wants one thing: a gold star. The story shows him and a unique princess finding their way in the world as their friendship develops.From the start, the simple and flexible staging (including a climbing frame made from scaffolding) created a fluid transitional theatre set that could be a dragon school one moment and palace grounds the next. Added to this was a strong band of actors who created various colourful characters that kept young and adult minds open and connected to each scene that unfolded. This was the perfect mix of many genres: physical theatre, education, puppetry, musical theatre and comedy. The strong performances from each cast member added their own little bit of magic. Whether it was audience interaction or silly tongue twisters, the dedication shown in each performer was clear to see. The group comradery was a particular highlight and they were not afraid to stay present in case something had to change quickly.Billy Mahoney as the titular Zog brought a lot of fun to the role, but also handled the more emotional scenes well. What made him particularly watchable was the strong friendship he developed with the feisty and kind hearted Princess Pearl (Lois Glenister). Not only was this relationship on stage a sweet one, but both actors demonstrated a well rounded and grounded interpretation of characters that stood out from the crowd on their own terms. Glenister was not afraid to reveal several sides to Pearl as she progressed from being trapped by her sense of duty to being able to be authentically herself.Asher Cornelia Cluer played the nice, but firm Madam Dragon and kept everyone in check as new things were learned under her watchful eye. She in particular portrayed a good skill in family friendly audience interaction and comedy to keep everyone on their toes. As did Benedict Hastings who played the not so confident knight Gadabout, especially with his physical comedy skills that was reminiscent of Monty Python’s Ministry of Silly Walks sketch. Whilst that reference may go over younger heads, those who are familiar with Monty Python will recognise a lot of John Cleese in Gadabout.One of the ensemble and main narrators deserves a special mention here – Tara Harris. She not only played many characters, but demonstrated a natural and engaging tone as she helped tell the story of Zog along with the other cast members. Expect a lot of fun, empowerment and positivity when watching Zog - the whole production is a joy.

Annabelszki brought an uplifting and insightful fusion of storytelling, comedy and poetry to her show Professional Breakup Artist to highlight the various stages of love, dating and breakups in life. To add an extra dimension to her show, she not only spoke from her own experience as a lesbian, but also included various video interviews from other women, providing different perspectives to offset her own poetical and often lyrical point of view. The performance was well thought out and sensitively handled. Annabelszki's positive and cheeky attitude was complemented by subtle innuendo and honest accounts of someone who has grown as a person, as well as a lover. Her acerbic wit shone through her satirical poetry and interaction with the audience (especially when dealing with one heckler, whom she handled with integrity and positivity). Sometimes there were aspects of audience interaction that seemed to not work as well, due to one or two over-explanatory sections that may have held up the otherwise smooth running of Professional Breakup Artist. Having said that, despite one or two technical issues, this did not affect the way she stayed focused on her own truth as she delivered an equal mix of hurt, happiness, self discovery and more. It was clear that she had learned from her experiences the hard way and was able to invite us into her world with no judgement, just a safe space to banter and transform what can be a complicated subject into a more accessible perspective. This in turn created invited reactions and suggestions that were full of empathy and compassion, which made the show unique and not the standard comedy or spoken word set of general quick turnarounds of quips to initiate laughter. Annabelszki steadily built up the pace and maintained everyone’s attention without rushing. Particular highlights included a cathartic use of ripping up an ex's photograph, an unusual way of using a clothes rail and a stool, plus a poem that included the memorable line “catch up time”. These particular moments highlighted certain levels in breakups which enable you to see things differently than if you were emotionally caught up in the moment yourself. Also, her vibrant energy as she delivered each line left a positive impression as the journey into love and breakups continued. Professional Breakup Artist is a delightful and insightful piece that will challenge your perceptions of love and dating, plus give a masterclass in observational comedy and poetry.

Mistaken identity, two sets of twins and lots of frivolity is what makes this unique bi-lingual production of Shakespeare's classic comedy The Comedy of Errors. This is not a play that is performed very often, but The Blind Cupid Shakespeare Company made it their own in this reduced version, performed and edited using the online platform Zoom.The Comedy of Errors, despite the usual technical issues involving occasional screen freezing and occasional sound reductions (which on one or two moments impacted the performances), was done with a vibrant energy from an international cast that made the show unique from the perspective of using the traditional English text, as well as fusing it with an Italian translation. This seemed to not only show the four brothers having very different upbringings, but added an extra layer of lyricism to Shakespeare's text which was extremely pleasant to listen to and actually made the text funnier with the freedom it had on the use of iambic pentameter. The famous expression of Shakespeare being universal is fully embraced because of this.Having mentioned the technical issues earlier, The Blind Shakespeare Company, in pure satirical spirit, embraced this side of things before they even jumped into the play. This made it instantly relatable as the company made the decision to do it on Zoom when they found out that no one could travel. A special mention has to go to Frances Knight as she had a real comedy error with a naked Homer Simpson filter and her horror as she realised what had happened was the highlight of that section whilst trying to remove it.The performances from every single cast member were strong and made each character engaging and well rounded. One highlight included Joe Staton who played Duke Solinus, Dr Pinch and Balthazar. The differentiation between each role was not only well defined, but also showed his strong versatility as an actor. Other highlights included the feisty yet insecure Adriana (Gilda Mercardo) and her long suffering sister Luciana (Elize Layton). These two not only managed to portray the sisterly dynamic well, but delivered the characters with great energy and realism.However, the biggest highlight has to go to Gianluigi Calvani and Alice Lussiana Parente who played both sets of Antipholuses and Dromios. This is a big task for any actor playing twins and not only did they show the subtle, yet very real differences between them well, but it was clear that these actors had a fantastic repartee between them and were not afraid to take creative risks to make these challenging characters work to their ability. The Comedy of Errors has everything you want and more in this production and is not to be missed. It would be fun to see this happen on stage in front of a live audience also to see what would happen with no film editing involved too.