The comparison between An Evening With Dementia and King Lear
is closely drawn.
The most common mistake of a university comedy troupe, I have found, is the attempt to be too clever.
For a man whose spoken word revolves around Satan and who has chosen the dingiest, darkest basement of The Banshee Labyrinth for his latest show, Rebranding Beelzebub, Tim Ralphs i…
Writer David Skeele’s reimagining of Electra for Slippery Rock University of Pennsylvania’s theatre
students had all the makings of something worth seeing.
The bold claim made for itself by The Best of Irish Comedy immediately sounds too good to be true, doesn’t it? Having a look through the show’s previous guests, perhaps not: Da…
Carol Robson is a wonderwoman.
Kudos to any improv troupe for even attempting the month-long exercise in uphill walking and sleep-deprivation that is the Fringe.
Owen O’Neill is a much better poet than he is a comic.
There perhaps could not have been a more timely play than We Have Fallen.
Rachael Clerke is Scot-ish (a category whose ambivalence, being Jew-ish, I totally get), as she demonstrates by wearing kilt hose with knackered trainers.
Mush and Me is a fresh retelling of an old story, one in which faith catalyses what
seems a painfully unnecessary conflict between lovers.
Nadia Brooks loves language.
Gillian Hardie and Keddy Sutton are living proof of the versatility and
sheer hilarity of female comedians.
‘Mighty’ seems a pretty apt term to describe Pierre Novellie.
Broke sells itself as a collection of dramatised verbatim interviews tied together less narratively than thematically, the exchanges centring on the financial circumstances of thei…
Despite the geographical specificity of their title, the performers of the Soweto Afro-Pop Opera draw their influences as widely as the so-called ‘Rainbow Nation’ from which th…
The bringing together of incongruous generic and thematic
elements (my favourite being Bereavement:
The Musical) is nothing new.
There is something wonderfully self-reflexive about Keeping Up With The Joans.
Needless to say, the selling point of Nathan Roberts’ show is its title
which promises an hour of ruthless satire.
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