Archive for category: Stage


70 min • The Paper Birds • October 6 – November 15 (various venues), 2014

Blind is a powerful exploration of how women are represented that hinges on an innovative use of sound – and beatboxing.

“In Blind, Savage investigates her relationship with the art form and uses it to demonstrate how sound can have a profound effect, not just on those growing up and how they think about themselves, but also relationships between the sexes and between generations.”

Azealia Banks • Brixton Academy

70 min • Brixton Academy • September 19, 2014

Azealia Banks kicks up a storm at Brixton Academy, and the promise of her upcoming album Broke With Expensive Taste is even sweeter for it.

“The music mostly moves at a ferocious speed, all being mixed by an onstage DJ, with her dancers voguing and waacking their way through her set, feeling more like a long club PA than a rock concert – which to me is a good thing. “


75 min • Summerhall • August 1-2, 2014

Sister is a brutally honest, confrontational and intelligent piece that challenges us to think about how women are perceived by society.

“Amy and Rosana share with each other, and with the audience, some very personal stories of growing up in a world in which children are exposed to sex from an early age and yet sex and sexuality are still often seen as shameful or taboo – particularly where women are concerned.”

Odd Shaped Balls

60 min • Etcetera Theatre, London • From September 18-20, 2014

Odd Shaped Balls is a one-man play which is based on Gareth Thomas’ coming out experience. An intelligent and dynamic performance.

“Odd Shaped Balls examines what it might be like for a professional sportsman, married , conventionally ‘masculine’ (in the Daily Mail’s sense of the word) to come out in the 21st Century, in the media spotlight, instant news and the ravenous hunger of social media.”


120 min • Roundhouse, London • June 5, 2014

Prince wows in his London show, where he performed two concerts in one night. Nothing compares to his Purple Highness.

“As the indigo light covers the stage, it’s time to send us off singing into the night with a show-stealing performance of the timeless classic ‘Purple Rain’, which has every member of the audience holding hands and singing along like a faithful choir.”


100 min • Above the Stag, London • Until June 14, 2014

Glenn Chandler’s adaptation of Angus Stewart’s cult novel, in which 19 year-old undergraduate David Rogers meets 13 year-old choirboy Antony Sandel.

“At heart this is very much a love story, not a morality tale, but serves as reminder that the law can never have the final word on the rights and wrongs of sexual relationships.”

Orton: The Musical

140 min • Above the Stag, London • Until May 4, 2014

Saucy songs, tongue-in-cheek fun, and Kenneth Williams steals the show. That sounds about right.

“Cruising number ‘Another Night, Another Man’ is one of the show’s stand out songs, making George Michael’s previous nod to male toilet activity, ‘Outside’, look like a nursery rhyme in comparison.”

American Psycho: A New Musical Thriller

160 min • Almeida Theatre, London • December 3, 2013 – February 1, 2014

Matt Smith plays Patrick Bateman in the dark musical thriller American Psycho. Gruesome, with an eclectic lo-fi ’80s score.

“Patrick Bateman is essentially the ’80s American Dream. He has the perfect body, the perfect hair, the perfect designer suit, and the perfect high-paid job. He is also Matt Smith”

Deptford Goth Live in Dublin

50 min • Unitarian Church, Dublin • October 18, 2013

A laid-back stage presence and sparse arrangements made for a mesmerising performance from Deptford Goth.

“The concert is a perfect was to spend the blustery Autumn evening; the heartfelt pitch of the cello, Daniel’s tender vocals and the glistening electronics spreads a warmth amongst his audience.”

Edward II

180 min • National Theatre, London • From August 28 – October 26 , 2013

This is an Edward II for a contemporary audience. Bold, funny, insightful.

“Kyle Soller’s Gaveston is all confident swagger and sex appeal. He strides onto the stage and embraces Edward in a way that declares that that this is not a fraternal bond but a sexual one.”