In this uproarious solo play, Kristina DeGiovanni delves into the whirlwind world of corporate chaos with unmatched comedic finesse. From the moment she steps on stage, it’s a riotous adventure as she seamlessly transforms into an array of characters that you’re likely to encounter in the modern workplace. Her character impressions are so brilliant you’ll find yourself momentarily forgetting that just one person is commanding the stage.
In her show, Kristina’s character is paid to impersonate a passionate data analyst to keep up workplace appearances, it’s not her dream role but what she hears is… she got the part! And now it’s time to go method in her acting approach.
Beyond the hilarity lies a layer of authenticity and vulnerability that resonates profoundly. Kristina navigates the challenges of the corporate realm with a relatability that tugs at the heartstrings. Her performance captivates with wit, charm, and magnetic skill.
With an intoxicating blend of humour and satire, this production is an absolute must-see that guarantees a night of unadulterated laughter.
Alexandra Scordato’s direction of the show is nothing short of superb for a Fringe production, effectively utilising a minimal set and lighting to create a theatrical minimalist interpretation of the corporate American environment. Kristina’s solo prowess fills the stage with boundless energy, conjuring a bustling office populated with an eclectic cast of characters that come to life in her capable hands including the docile slow talking, obliviously underachieving Georgia to the villain at the heart of the show Jefe.
The Temp effortlessly blends uproarious comedy with astute commentary on ambition. Kristina’s writing is just as strong as her solo performance carrying impeccable timing, seamless character transitions, and an infectious energy that ignites the room. The show’s incisive take on corporate absurdity is both relatable and hilarious, capturing the essence of modern work life with uncanny accuracy.
The show would easily transfer to a suitable venue and could easily be extended by a further thirty to forty-five minutes but in case that does not happen, I certainly recommend one books tickets right away.
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, High Tide’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 … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE
Drum roll please…(Cue a literal drum rolling across the stage.) The Lyric pantomime is one of traditions with the return of many well-loved jokes and skits. Costumes and sets are all made at the Lyric itself by Good Teeth, with set pieces being reused year on year. This year Cinderella gets the Hammersmith makeover, with some success. The costuming is fun and vibrant, with the ugly stepsisters’ equine pyjamas and hoop-skirted ball gowns giving all the wrong kinds of extra you need for those characters. Cinderella’s on stage dress transformation is magical and really well-timed. The Dame, Lady Jelly-Bottom’s, outfits … More CINDERELLA – REVIEW – LYRIC HAMMERSMITH
Amy catches up with Linus Karp ahead of his performance of Diana: The Untold and Untrue Story, at London’s Clapham Grand. Linus and Joseph of Awkward Productions are also the masterminds behind the new show Gwyneth Goes Skiing. Hello Your Majesty/ Candle Entrepreneur, how are you feeling coming back from a hugely successful fringe and triumphant tour across your kingdom, ahead of performing in front of 700 of your loyal subjects, and before (the list never ends!) opening a brand new show, which has recently gone viral? Exhausted, exhilarated and alive. We’ve had the most ridiculous year – I feel … More INTERVIEW – LINUS KARP – DIANA: THE UNTOLD AND UNTRUE STORY