Stephanie Mohr’s adaptation is a remarkable manifestation (no other word seems more apt) of the Charlotte Perkins Gilman short story The Yellow Wallpaper, an important realisation of a key feminist awakening. It’s good enough for you not to want it depicted in any other way.
Weinachter is an interchangeable chameleon: not just a dancer, but a rare performer who can do it all! Her style and execution of ideas paints a beautiful memory of her idiosyncratic talents in exploring the beginning and end of life. Stunningly poignant.
An engaging combination of heroic journey, magic show, and story-telling about life and death. Ghosts of the Near Future took place in an atmospheric fog-filled amphitheater at noon on a sunny day. A home-made brew of great integrity, creativity and enjoyment.
Ninety seconds into this newly-revised one-woman play, Joanna Rosenfeld - emerging in a poke of fingers from a cagoule of brown paper - over-voices herself giving witness to tens of verbatim experiences we hear. This tells us the baby’s a parasite, sucks all your nutrients, calcium from your teeth for instance, causes injury, often permanent, can kill. This is - literally - epic interior theatre.
Vinyl Catastrophe, Chris Sav, Andy Hoggarth, Lewis Klein, Mathilde Segonds and Clarisse Mathevet are all individually intriguing artists, who I would happily watch perform again.