Bisexuality can often be lost in the LGBTQ+ representation, but this beautifully honest and moving show gives it the representation it craves and deserves.
Credit: Flavia Fraser Cannon
Thirsty, written by Stephanie Martin and produced by Ellie Stone and Louise Beresford for Bruised Sky Productions, is made up of a cast of four actors, with three of them playing multiple characters. Sara (Louise Beresford) is a thirty-something year old woman navigating a still-raw breakup with her first girlfriend and all the internal and external conflicts that come with it. However, Martin chooses to not solely focus on the relationship/breakup and instead takes a more whole approach to Sara’s life, highlighting other relatable aspects such as her career development and relationship with her two friends Alice (Anna Spearpoint) and Jen (Greer Dale Foulkes).
There was no weak link in the show, and I commend Spearpoint, Suppa, and Foulkes for switching through characters with ease. Spearpoint provided most of the laughs for the show, playing Alice as sometimes ditzy but overall having good intentions. Foulkes provides the most depth as Jen. Beresford is absolutely outstanding as Sara. She was so real and I felt so connected to her, I wasn’t fully convinced I was in a show at all.
Credit: Flavia Fraser Cannon
Thirsty hits all of the topics. It really feels like the characters are having real conversations and not reciting a script. The portrayal of sex is stunningly beautiful and done with taste and care. Alice and Jen’s reactions to Sara’s coming out is perfectly awkward, and I literally cringed at their unfortunately all too relatable responses. (“I don’t think I could ever go down on a woman.” “How do you know what to do?” “I find it hard to trust men – maybe I’m secretly bisexual too!”) Sara’s mother’s “This is just too much” was heart-breaking, especially when Sara gives such a good explanation of ‘queer’ as a general term that has been reclaimed.
Although it is a big part of her life, it’s just that – only a part. Sara is whole as a character and not defined only by her sexuality. Her relationship with Jen is one of my favourite parts of the show. The show begins with their relationship strained because Jen is doing, in her words, “the right thing” by being married and having children (i.e. living a heteronormative life). Jen thinks Sara judges her lifestyle, and Sara thinks Jen doesn’t take her and her queerness seriously. The development of their relationship in the short hour-long show time is so uplifting, and Jen’s final line, “What do you want to do today? You can do whatever you want,” is such a simple yet hopeful ending to the show.
Credit: Flavia Fraser Cannon
I am so grateful I got the chance to see this show; it is one of the most profound things I have ever seen. Thirsty is on in Cage at the Vault Festival until Sunday, February 5th.
VAULT Festival has been left without a venue for 2024’s festival and beyond • VAULT Festival have launched a #SaveVAULT campaign • The campaign aims are to raise £150,000 by 19th March to support the festival’s survival AND to secure a new home for the festival to continue. • You can help by donating, helping access funding networks, and helping then find a venue. • You are officially implored to make the most of 2023’s Festival while it lasts!
{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}
The infamous Sh!t Faced Showtime are back in London with a festive edition, they have taken Dickens’ classic and put a drunken spin on it. The formula is the same as other iterations of the Shi!t Faced shows, one member of the cast has been boozing, and this time it is John Milton who plays Scrooge. Before the show, half a bottle of Jim Beam, some wine, and beer have been consumed in the previous 4 hours. The rest of the cast, try to keep the show on track, also aided by James Murfitt as the compere, Charles Dickens. The … More A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
Spine-tingling yet heart-warming, Mark Gatiss’s retelling of A Christmas Carol truly encapsulates the haunting atmosphere of a Victorian ghost story, balanced out with enough humour so as to capture the festive season. Led by Keith Allen as Scrooge, with Peter Forbes as Marley, this show is perfect for Christmas viewing. The set design by Paul Wills is instantly captivating, containing stacks of metal cabinets towering over the theatre, moveable by the cast to allow space for other central props like doors, beds and tables. In addition to this, the puppetry design by Matthew Forbes is incredibly clever, adding creepy elements to the show such … More A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
The title of this winner of Theatre 503’s 2023 International Playwriting Award by Roxy Cook may seem like the set-up to a joke, but the narrative that unspools is instead an affectionate, gently barbed and at base quite sobering portrait of three ordinary souls (and one restless feline) adrift in modern Moscow. There is much affable, satirical back-and-forth commentary on the accepted myths & stereotypes of the Russian spirit & soul. Beset by the indignities of age, opportunism, graft, fatigue, the characters orbit one another, doomed to play out their roles in an unjust, predatory and saturnine universe. The play opens … More A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
Peter Pan Goes Wrong first premiered in London at the Pleasance Theatre in 2013, and earlier this year the show made its Broadway debut. Now the production is back in the West End for the Christmas season. Following on from The Play That Goes Wrong, in this production, J.M. Barrie’s Peter Pan is staged by the fictitious Cornley Polytechnic Drama Society and goes awry, disastrously so. The meta-comedy is filled with slapstick comedy, sometimes the humour may be predictable and silly, but it’s universally funny throughout – there is something for everyone here, and the laughs come thick and fast … More PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
Drawing heavily from the classic canon of the British supernatural, HighTide’s trio of contemporary Gothic narratives uses traditional storytelling formats to address contemporary themes. Directed by Elayce Ismail, reverent musical interludes accompany tales of apparitions and nighttime conjurings that speak of women from the East of England. Unfortunately, the effect is less chilling and more lightweight, with conventional structures, predictable plot twists and an over-reliance on external forces to drive narrative shoring up some of the less relatable aspects of the genre. Nicola Werenowska’s The Beach House, perhaps the cleanest of the three tales, tells of a mother and daughter’s … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE
{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}
The infamous Sh!t Faced Showtime are back in London with a festive edition, they have taken Dickens’ classic and put a drunken spin on it. The formula is the same as other iterations of the Shi!t Faced shows, one member of the cast has been boozing, and this time it is John Milton who plays Scrooge. Before the show, half a bottle of Jim Beam, some wine, and beer have been consumed in the previous 4 hours. The rest of the cast, try to keep the show on track, also aided by James Murfitt as the compere, Charles Dickens. The … More A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
Spine-tingling yet heart-warming, Mark Gatiss’s retelling of A Christmas Carol truly encapsulates the haunting atmosphere of a Victorian ghost story, balanced out with enough humour so as to capture the festive season. Led by Keith Allen as Scrooge, with Peter Forbes as Marley, this show is perfect for Christmas viewing. The set design by Paul Wills is instantly captivating, containing stacks of metal cabinets towering over the theatre, moveable by the cast to allow space for other central props like doors, beds and tables. In addition to this, the puppetry design by Matthew Forbes is incredibly clever, adding creepy elements to the show such … More A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
The title of this winner of Theatre 503’s 2023 International Playwriting Award by Roxy Cook may seem like the set-up to a joke, but the narrative that unspools is instead an affectionate, gently barbed and at base quite sobering portrait of three ordinary souls (and one restless feline) adrift in modern Moscow. There is much affable, satirical back-and-forth commentary on the accepted myths & stereotypes of the Russian spirit & soul. Beset by the indignities of age, opportunism, graft, fatigue, the characters orbit one another, doomed to play out their roles in an unjust, predatory and saturnine universe. The play opens … More A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
Peter Pan Goes Wrong first premiered in London at the Pleasance Theatre in 2013, and earlier this year the show made its Broadway debut. Now the production is back in the West End for the Christmas season. Following on from The Play That Goes Wrong, in this production, J.M. Barrie’s Peter Pan is staged by the fictitious Cornley Polytechnic Drama Society and goes awry, disastrously so. The meta-comedy is filled with slapstick comedy, sometimes the humour may be predictable and silly, but it’s universally funny throughout – there is something for everyone here, and the laughs come thick and fast … More PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
Drawing heavily from the classic canon of the British supernatural, HighTide’s trio of contemporary Gothic narratives uses traditional storytelling formats to address contemporary themes. Directed by Elayce Ismail, reverent musical interludes accompany tales of apparitions and nighttime conjurings that speak of women from the East of England. Unfortunately, the effect is less chilling and more lightweight, with conventional structures, predictable plot twists and an over-reliance on external forces to drive narrative shoring up some of the less relatable aspects of the genre. Nicola Werenowska’s The Beach House, perhaps the cleanest of the three tales, tells of a mother and daughter’s … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE