London Theatre 1

1 week ago | londontheatre1.com | Chris Omaweng

There came a point when the penny dropped: I was watching something written by, directed by and starring the same person. There was no mention of a dramaturg in the press release or in the show’s credits, and so I was reminded of a punchline from the late comedian Barry Humphries. Collecting an award for Best Solo Performance in 2014 for his show Eat Pray Laugh!, he noted that the best thing about winning that particular category was that, by definition, there was nobody else to thank.

1 week ago | londontheatre1.com | Chris Omaweng

The carers, it was drilled into me when I worked for a private social care provider during the pandemic, need to be cared for. And that was why there was an ongoing programme of training initiatives, staff socials (socially distanced, of course) and regular check-ins with ‘caregivers’. The nature of the job meant I was only dealing with one patient (or ‘client’) at a time – out in ‘the field’, so to speak, visiting elderly and/or disabled people in their own homes.

1 week ago | londontheatre1.com | Terry Eastham

Off to the Arcola Theatre we go for a new take on Simon Stephens’ 2015 play Heisenberg. Alex (Jenny Galloway) is sitting minding her business in Paddington Station when suddenly a woman comes up to her and plants a kiss on the back of her neck. Slightly non-plussed by this, as you would be, Alex glares at the woman in a very British way. Georgie (Faline England), for that is her name, introduces herself and sort of apologises for her action.

1 week ago | londontheatre1.com | Chris Omaweng

There aren’t very many stage shows that put sex workers at the centre of the narrative. Some might argue that is probably just as well, particularly for those who lean towards a ‘show don’t tell’ philosophy. This is a story that could be tightened and condensed into one of those ninety-minute no-interval shows.

1 week ago | londontheatre1.com | Terry Eastham

Is there any subject that should be taboo? Stopping it from being turned into a musical theatre production? If I’m honest, then I would probably have said, “Yes, there are red lines on subjects I feel appropriate for the MT treatment”. But why? Is it just the possibility of a show jumping over the line from daring to challenge sensitive orthodoxies to being tacky and tasteless?