Audacious, sexy and stylish, Alexis Gregory’s Sex/Crime has arrived at Soho, finishing almost as soon as it has begun. No doubt this will not be the last it is seen. Rumours abound of further performances deservedly being planned over the pond. Continue reading →
Review: by Carole Woddis of performance seen Feb 26, 2014
With a nod to Edward Albee (Who’s Afraid of Virginia Woolf), Pinter (sexual manipulation) and Strindberg (till death do them part a la Dance of Death), Vicky Jones’s 2013 Verity Bargate Award winner hits where it hurts most. In the heart. And in the solar plexus. Continue reading →
Review: by Carole Woddis of performance seen May 14, 2014:
Was there ever a more provocative debut than this? Phoebe Waller-Bridge certainly made a huge splash with Fleabag when she opened it up at Edinburgh Fringe last year. Since then, this ode to modern womanhood has picked up every award going as most promising playwright (a lethal label really, how do you follow it?) and as performer. Continue reading →
If there was such a thing as `chick-lit’ in theatre, this would be the nearest thing to it.
But that would neither be respectful nor entirely accurate. The phenomenon that has become Vicky Jones, Phoebe Waller-Bridge and the company they formed, DryWrite, carries far greater weight than that slightly disreputable moniker would suggest. Continue reading →
Theresa Ikoko’s debut play has already been lauded, first at the HighTide Festival where it launched this year but even before that, awarded the Alfred Fagon (2015) and George Devine (2016) awards. Continue reading →