With less than a week to go before the 2019 VAULT Festival opens, I wade my way through the catalogue and come up with 20 shows I think you should catch – in their own words
Now in its seventh year, VAULT Festival returns this year from 23rd January to 17th March with a broad and diverse programme of more than 400 shows in a range of atmospheric venues throughout Waterloo. And as ever, the remit is to be as big and bold as impossible, with the festival featuring theatre, comedy, cabaret, immersive experiences, late night parties, and much more besides.
It can be a little overwhelming to figure out what you want to see, the majority of shows run for a week (Wednesday to Sunday) so you’ll need to move pretty sharpish once you’ve decided – there’s the VAULT Combo deal which saves you money booking more than one show, and some 241 deals available through the Stagedoor app. And to help you, I’ve identified 20 shows (and it could have been so many more!) that appealed to me and asked them to sell themselves in 10 words or less in order to grab your attention. Continue reading “2019 VAULT Festival – 20 shows to see”
Some excellent monologuing here in The Thelma’s Ladykiller playing a short run at the Pleasance after conquering Edinburgh
“It’s not what it looks like…”
That there was something special about Madeline Gould’s Ladykiller was obvious even in the 15 minute format I saw it in three years ago as part of The Thelmas’ Ladylogue. So to see it all grown up to nearly an hour in length and having smashed an Edinburgh Festival run to huge acclaim, feels like a well-earned victory for a striking piece of story-telling.
Directed by Madelaine Moore and acted by Hannah McLean, this monologue takes us right through the wringer in the aftermath of a bloody murder. At first sight, it was the chambermaid, in a hotel room, or was it…? Gould and McLean toy brilliantly with our expectations as our protagonist presents her case and we buy into it. Cos she’s a woman innit. Continue reading “Review: Ladykiller, Pleasance”
“It’s my favourite thing in the world, dancing”
It’s 1942 and Bette and Vera have scored themselves a nice commission from the War Office to tour the country hosting tea dances to boost morale of the brave men and boys fighting the Nazis. But whilst they’re hanging the bunting and handing out barley sweets, it emerges that there’s more on offer here than just dance cards and as a group of three war-weary Canadian airmen turn up for the night, unexpected emotions threaten to bubble over.
Madeline Gould’s Think of England is beautifully written and in its opening two-thirds has an absolutely gorgeous feel to it. Tilly Branson’s production has a lightly immersive nature (don’t sit on the front row if you’re shy…) which sees us as active participants sequestered in this air raid shelter with the cast. And as we’re introduced to the cast, there’s a sensitive exploration of the massive impact of the war on a personal level – the relative freedom afforded to the women who can now work, the abject terror faced by boys tasked with the enormity of fighting an actual war when they’re scarcely adults. Continue reading “Review: Think of England, VAULT Festival”
On the one hand, that the Vault Festival has expanded to over 300 shows running over 8 weeks is fantastic news for the emerging theatremakers that it supports. On the other, it means making the choice about what to see, even tackling the catalogue alone can feel somewhat daunting. It has taken me a wee while to get round to delving into it myself, but as the festival is set to open this week, here’s some of my top tips for each week. Continue reading “2018 Vault Festival – what to see”
“I’m a pretty normal sort of person”
In a theatre world reveling in David Suchet’s Lady Bracknell and Craig Revel Horwood’s Miss Hannigan, one has to be grateful for companies like The Thelmas and their unflagging resolve to readdress this balance. Their particular focus lies more in encouraging new writing and none more so than in Ladylogue, their evening of six one-woman shorts, all written by emerging female playwrights, playing at the Tristan Bates Theatre as part of the Camden Fringe.
And a vivid and vibrant collection they make too in Madelaine Moore’s production here. From Maria Yarjah’s self-performed Family (Mis)fortunes tracing a young woman’s trials on social media once her parents have discovered Facebook to the poetic swirl of Sarah Milton’s The Night Tella, expertly delivered by Joana Nastari’s edgy narrator, the mood shifts considerably throughout the evening but never failing to place women’s stories at their heart. Continue reading “Review: Ladylogue, Tristan Bates”
“I never saw a harder favour’d slut”
The front of house hoarding that beckons you into the Union Theatre for Fair Em makes no less than three references to Shakespeare, but when a show’s main selling point is that it wasn’t in fact written by him, it sets an impossibly and unnecessarily high standard. It was misattributed to the bard by one of Charles II’s librarians and thus occupies a place in the Apocrypha where it has languished unproduced for over 400 years. But not even Phil Willmott’s normally sure touch can disguise the weaknesses of the play with a production that misfires on several levels.
The plot intertwines two love stories. First is well-to-do maiden Em who, when her father is banished by the new king, is forced to slum it as a miller’s daughter far from home and fends off the amorous attentions of the local suitors through feigning disabilities. And then there’s William the Conqueror, determined to claim Blanch, the Princess of Denmark for his wife but on finding she’s less comely than her portrait suggested, tries it on with her friend who is a Swedish princess and already entangled with the ambassador. Jealousies, deceptions and a lack of bread threaten the equilibrium of all as the play then gathers to a final scene of unparalleled unlikeliness. Continue reading “Review: Fair Em, Union Theatre”