Paul in London

A journey through the dystopia known as modern-day London - or at least the stops of gentrification along the Grand Union canal - is at the heart of Union—a provocative look at change, urban renewal and sanitisation. Written by Max Wilkinson, it's currently playing at the Arcola Theatre .  The premise is that successful property developer Saskia (Dominique Tipper) is about to sign the deal of her career. She is at the peak of her career and the height of her physical appearance. She asks the audience to check out her stomach as you could "eat an egg off that". But tonight, something isn't quite right. She has decided to go for a run along the Union Canal. She is ignoring calls from her boss and her partner. Having flashbacks and meeting characters along the canal forces her to confront some hard truths.  It's a fast-paced show with a breathless performance by Tipper in the lead role. She conveys the madness, the enthusiasm and the contradictions of living and work

Food as a starter for conversation, making a new family, and finding a place is at the heart of Eating Myself, Pepa Duarte’s story of exploring what it is to be a woman from Peru, living in London, living with unrealistic body images. It’s having a short run at the Brixton House as part of the Housemates season, where artists take over the house throughout July. In this short piece, which has previously been online, Pepa explains how she cooks on a stovetop a Peruvian dish with beans and potatoes and a lot of added extras that, when growing up, she was never supposed to eat. It reminds her of her grandmother and brings her back to her roots. As the show progresses, the dish's aromas waft through the audience bringing to life the words in a sensory experience. And one that might make you a little hungry.  But it also is a story about diets and calorie counting. Pepa directly asks the audience if they think she is fat. It’s a direct question to the audience that sets the scene about

The Finborough Theatre has its windows open to the world outside in The Return of Benjamin Lay. The evening sunlight fills the theatre space, and a giant tree outside the building gives you peace and tranquillity. It's as if you almost forget you are in a theatre just off the A3320 - a road known for pollution, noise and traffic congestion. Yet, recreating a Quaker meeting room for the piece also provokes the audience to reflect on how the life and times of a slavery abolitionist from the 1700s has something to say about our current times of modern slavery, prejudice and ignorance. It's currently having its world premiere at the Finborough Theatre.  Benjamin Lay was a revolutionary slavery abolitionist who lived in the 1700s. Having witnessed first-hand the atrocities of slavery in Barbados, he campaigned against it vigorously, including kidnapping a child of enslavers so they could see how it felt. For a man ahead of his time, the Quaker community disowned him. This monologue

Things are a bit different at the Cervantes Theatre when you see Broken Toys. You enter through the upstairs dressing rooms and go down to the theatre. It is a circuitous route, much like the story of Marion. You end up in the same place but have taken a different journey. And like what the old prostitute said. It's not the work but the stairs. And there before you is the theatre, but not entirely as I recall it. It feels like an intimate cabaret venue with tables and a shiny stage. And there we are introduced to Marion. Marion grew up in a small town during the Franco regime. A place where looking a bit different could make you the subject of gossip and a threat to your life. And despite being assigned male at birth and the attempts of family and father figures, she was an outsider in her town.  And so Marion sets off on a journey to the city. And in the shadows, she finds a place to hide. But with guidance from drag performer Dorian Delacroix begins to find her voice. Her journe

For a natural process, death is not a topic that comes up naturally for people. We ask how people are doing but expect the response to be “I’m great”, not “I’m not dead yet”. And so for the main character in A Brief List of Everyone Who Died, Graciela has a death issue. Starting with when she was five and found out only after the matter that her parents had her beloved dog euthanised. So Graciela decides that nobody she loves will die from then on. And so this piece becomes a fruitless attempt at how she spends her life trying to avoid death while it is all around her. It’s currently having its world premiere  at the Finborough Theatre . As the play title suggests, it is a brief list of life moments where death and life intervene for the main character, from the passing of relatives, cancer, suicides, accidents and the loss of parents. Playwright Jacob Marx Rice plots the critical moments of the lives of these characters through their passing or the passing of those around them. Howeve

This revival of the Frank Loesser musical is as much about climbing the corporate ladder as it is about giving a fresh take on the absurdity of the office and gender roles.  However, there's also a firm appreciation that this is a musical comedy.  And with an energetic cast with an impeccable sense of comic timing, it's a hilarious and thought-provoking evening.  It's currently playing at the Southwark Playhouse. The show comes from a parody of a self-help business book.  The premise is that a lowly window washer becomes board chairman in a few weeks and gets the girl.  Along the way, there are stupid bosses, sexist colleagues and nepotism.  Only this time, J Pierpoint Finch is played by Gabrielle Friedman.  Depending on your perspective, Finch is either the hero or the antihero of the piece, stopping at nothing in their ambition to reach the top.  Here Finch is more sympathetic as the underappreciated service worker getting a lucky break and a chance to climb the corporate

As you enter the Riverside Studios , where Christopher Hunter is performing Shakespeare's epic poem, Venus and Adonis, Hunter is already there—sitting on a bench with his attaché case, wearing a suit and writing furiously. There are papers crumpled and tossed about. It's as if he is writing the piece from a 1990s office. All that's missing is the scream of the office fax (we heard phones ringing even though that wasn't part of the performance).  Written by Shakespeare during the outbreak of the plague in 1592, it's considered to be Shakespeare's first work. It's an evocative piece about the Goddess of love and her attempts to attract the handsome and probably fit Adonis, who would prefer to go hunting.  As performed by Hunter, the age-old tale of unrequited love takes surprising twists and turns in this epic poem. Starting as the piece's writer, he becomes the characters and immerses himself in the words. Consonants fly out at you, and the suffering, the

Keeping up appearances is what, at first, it seems at the heart of the story of Next Door's Baby. There's a less-than-friendly rivalry between the comfortably living Hennessys and the struggling O'Briens. But as this self-described musical play unfolds,  a story about two women struggling to break free from the oppressive life of 1950s Dublin emerges. The drama is sometimes more interesting than the music, but some evocative characterisations and an enthusiastic cast make this piece work. First presented at the Orange Tree Theatre some years ago, it's currently having a revival at the Theatre At the Tabard .  The two women at the centre of the story are neighbours. Their mothers, however, are at each other's throats. Mrs O'Brien is a widow struggling to make ends meet, serving only porridge. While Mrs Hennessy lives a life of comfort, wearing her best fur coat even to mail a letter. And while the time and place put more value on keeping up appearances, just bene