VIVIENNE LEECH reviews Alfred Taylor Gaunt’s Derrière on a G String at Sadler’s Wells.  Performed at Lilian Baylis Studio, Alfred Taylor-Gaunt’s camp extravaganza Derrière on a G String lives up to the ‘very fun, quite silly, and rather naughty’ dance show it is billed to be. Comprising of a series of fast paced sketches that depict the trials of modern day life, framed against a background of classical music, the work effectively brings dance into the modern world, for a new generation. From the panicked state you end up in after realising that you cannot find your plane ticket at the airport, to the exaggerated dance that you try to suppress when in desperate need of the toilet. Derriere on a G String explores mundane aspects of everyday life in a comedic and relatable way. With similarly expressive body language and use of music that exaggerates movement in the style…Continue Reading

Derrière on a G String.

SOPHIE CUNDALL reviews Pandora’s Door’s ‘Zeus on the Loose’ at Fire, Vauxhall. This article contains references to racism, homophobia and ableism. Selling itself as a filthy, queer celebration-box of assorted cabaret acts and pulsing basslines, Zeus on the Loose sounds like a promising romp through the lands of Ancient Greece and the palace of the gods. The reality, however, in a grotty room under the pulsing lights of Fire, a nightclub in Vauxhall, doesn’t quite live up to the hype. There are some undeniably funny moments, and some impressive contortions of both bodies in hoops and of vocal chords, but as whole, the show falls flat. Unfortunately, some aspects stray towards being downright offensive. The performers’ clearly high level of skill, doesn’t quite rescue it from leaving a rather bitter taste by the end. The show and performers’ discipline is perhaps the root of some of the clunkier elements of…Continue Reading

Zeus on the Loose

MADDIE DUNN reviews Lesley Storm’s play Black Chiffon at the Park Theatre. Lesley Storm’s three-act play Black Chiffon has rarely been performed in the UK since its West End debut in 1949. This production, directed by Clive Brill and transferring from Frinton Summer Theatre, sees this engaging, intriguing and emotive script back in London at Park Theatre. Despite risking seeming dated, the production, with its dedicated cast and crew, proves that core values and sentimentalities concerning family life and relations, central to this play, are universal and consistent. The plot follows a respectable, wealthy family in the October of a post-war England. Housewife Abigail, played with precision and truth by Abigail Cruttenden, is the crux of this ‘perfect’ household. This responsibility feels even more pronounced as the wedding of her beloved son Roy (Jack Studden) to the delightful Louise (Jemima Watling) swiftly approaches. However, the façade of their familial purity and…Continue Reading

Black Chiffon

Sophie Parker reviews Cora Bissett’s autobiographical play at Soho Theatre.  Thousands of musicians have nearly made it, only to be forgotten seconds after they crash out of the music industry. Cora Bissett’s ’90’s indie-rock band made it closer than most, but the ending of the band’s story is still the same. Twenty-five years after Darlingheart were dropped by their record label, the lead singer Bissett has recorded her journey from teenage rocker to forty-something mother in this impressive play. Directed by Orla O’Loughlin, and currently at the Soho Theatre before going on to Sydney to wrap up its world tour, the one-act, ninety minute whirlwind elicits both audible laughter and audible sobs from its audience. The cast of four is simply incredible. All responsible for playing the demanding live music required for the show, often in character as members of well-known British bands, they carry off their roles with ease.…Continue Reading

What Girls are Made of

SOPHIE CUNDALL reviews UCL Drama Society’s Romeo and Juliet. From the moment you walk in through the creaking doors of the 19th century gothic church in which UCL drama’s Romeo and Juliet is staged, you know it will be something special, and quite unlike any other version of this canonic play. As you settle into a wooden pew, you’re greeted with the soft sound of sobbing from a mascara-streaked face. The grief element of the play is immediately pronounced, particularly when you realise it’s actually Benvolio on stage, not Juliet or her Romeo. This also nicely introduces another refreshing element to the piece: the casting tosses gender aside, a delightful, and actually quite Shakespearean, twist on the tale that adds to the plethora of modern approaches that make it a fresh and current version.  The performance itself from the actors is incredibly captivating: the pace never drops, and they arguably…Continue Reading

Romeo and Juliet

NICK FERRIS reviews Anna X at VAULT Festival.  Here is a play for the social media age: a frenetic rollercoaster ride of carefully curated Instagram updates, magazines and exhibitions where creative content is merely incidental, and Genesis, the invite-only ‘Tinder for celebrities’. Dextrously squeezed into one hour by exciting up-and-coming director Daniel Raggett, Anna X captures the social milieu of New York’s creative millennial elite, and the desperate young people attempting to break in. Interlaced narratives present Anna, a fearlessly confident new player on the city’s art scene promising to champion new kinds of art and exhibition spaces, alongside Ariel, the founder of Genesis, who meets and falls in love with Anna one night at an absurdly-named ‘immersive nightlife experience’. Both are newly arrived in New York, both intent on disrupting destinies their past lives dictated they should have followed. Ariel was set for life of liberal suburban conformity in San Francisco with…Continue Reading

Anna X

MADDIE DUNN reviews Freak at the Bloomsbury Studio. UCL’s Viva La Vulva is a group consisting primarily of medical students who campaign to raise awareness of issues around women’s health. Could there be a better group (and group name!) than this to perform Anna Jordan’s Freak, a play which thoroughly and frankly questions female identity, sexuality and empowerment in the 21st century? Director Dr Pollyanna Cohen missed no opportunities, utilising the black-box studio to create an intimate setting which instantly alerted the audience to the heightened sexuality of the female image today: lingerie was strewn on the floor, a vibrator was placed conspicuously on the table downstage and, most strikingly, the back wall was plastered with posters of female models. Jordan’s two characters – 15-year-old Leah (Phoebe Garthwaite) and 30-year-old Georgie (Agnes Dromgoole)– were enveloped, both literally and metaphorically, by the societal tendency to place female value on being overtly…Continue Reading


ENERZAYA GUNDALAI reviews the 24 February performances of the seventh ACT II Festival at the Arcola Theatre. A quick online search for the ACT II Festival floats many a promise to the theatre-goer: the largest ever inter-university theatrical collaboration in London, and new plays written by students that were developed under the nurturing wing of professional playwrights, including Sasha Hails and David Farr. Over 100 students and 15 universities were involved, creating 13 shows spread across 4 performances. Hosted at the award-winning, off West End Arcola Theatre, the potential of the fledgling writers, directors and actors seemed immense to me, as I arrived for the first matinee and evening performances. The themes the festival approached were modern and relevant: contemporary plays written by students for students. Certainly, no generation of playwrights before our own had as much to say about identity, gender fluidity and artificial intelligence. If the ACT II…Continue Reading


SOPHIE PARKER reviews UCL Musical Theatre Society’s production of Sweeney Todd at the Bloomsbury Theatre. The character of Sweeney Todd first entered the public consciousness in 1846, in the Victorian penny dreadful serial The String of Pearls. These days, of course, most people come into contact with him through some variation of Stephen Sondheim and Hugh Wheeler’s 1979 Broadway musical. The tale’s long history made UCL Musical Theatre Society’s claim that they would be presenting ‘Sweeney as you’ve never seen it before’ particularly bold. The premise of the production overseen by Mabel Moll and Vaishnavi Mohan (director and producer respectively) was to have the events unfold in 1979, the year Sweeney Todd debuted. This concept could have worked incredibly well given the similarities between the social context at the time and the issues explored in the show. The ‘Winter of Discontent’ which started that year saw tens of thousands of…Continue Reading

Sweeney Todd

THEA NOWELL reviews the UCL Societies Showcase Night at the Bloomsbury Theatre. First opening its doors in 1968 as the Central Collegiate Building Auditorium, The Bloomsbury Theatre has supported and showcased the best of UCL’s performing arts since its conception, working together with students and researchers to bring exciting talent and ground-breaking discoveries to the stage. Famous guests include UCL alumnus Ricky Gervais, and Adele. The theatre closed its doors in 2015 for a major renovation project, and now, having reopened last year, fifty years after its first performance, The Bloomsbury Theatre proudly marked its rebirth with a showcase from ten of UCL’s performing arts societies. The showcase celebrated Bloomsbury Theatre’s official relaunch, honouring the relationship between the university and the theatre. Organised and directed by George W.X. Barker and hosted by Rare FM’s Caycee Peskett-Hill and Stage Crew’s Vojta Smekal, the showcase was the perfect opportunity for UCL’s societies…Continue Reading

Societies Showcase Night

CHLOE TYE reviews Phaedra I— at Tristan Bates Theatre. Phaedra, the story of a woman tormented by Aphrodite into desiring and pursuing her step-son, was reimagined in this bold new production written and directed by Avra Sidiropoulou. Reworking Euripides, Seneca and Racine, this one woman show remained loyal to the original story but relayed it in an experimental and artistic performance. Phaedra I— translated the tale onto the modern stage in a way that paid homage to the original while presenting it in a wholly new way, reworking it for a modern audience. Avra Sidiropoulou brought this ancient tale into the realm of multimedia; Phaedra sat centre stage, her movement impeded by a billowing white dress, for the duration of the performance. The dress was constantly either illuminated by various coloured lights or projected onto with moving images. These projections were suggestive in their content but not so literal as to make either…Continue Reading

Phaedra I –

PHOEBE GARTHWAITE reviews Hear Me Howl at VAULT Festival. Lydia Rynne’s Hear Me Howl, directed by Kay Michael, was a one-woman whirlwind of comedy and emotion jam-packed into an hour. Thirty-year-old Jess, played by Alice Pitt-Carter, finds herself unintentionally pregnant and begins to question the life she has and what she wants from the future. The pregnancy news sparks a new zest for life within Jess and she spontaneously joins a post-punk band (‘like punk, but they give even less of a shit’). Her hilarious inner rebellious youth shows itself. Pitt-Carter carried the piece with both vivacious energy and real vulnerability. At the beginning of the show when she finds out about her pregnancy, Jess wittily bats off her reaction to it. Looking for solace in audience laughs, there was a sense that she was performing to herself as well as the crowd, playing at being okay. Rynne’s incredibly relatable…Continue Reading

Hear Me Howl