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Bear with me: Sun Bear @ParkTheatre

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If The Light House is an uplifting tale of survival, Sarah Richardson’s Sun Bear gives a contrasting take on this. Sarah plays Katy. We’re introduced to Katy as she runs through a list of pet office peeves with her endlessly perky coworkers, particularly about coworkers stealing her pens. It’s a hilarious opening monologue that would have you wishing you had her as a coworker to help relieve you from the boredom of petty office politics.  But something is not quite right in the perfect petty office, where people work together well. And that is her. And despite her protesting that she is fine, the pet peeves and the outbursts are becoming more frequent. As the piece progresses, maybe the problem lies in a past relationship, where Katy had to be home by a particular hour, not stay out late with office colleagues and not be drunk enough not to answer his calls. Perhaps the perky office colleagues are trying to help, and perhaps Katy is trying to reach out for help. It has simple staging
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There’s something about Elena: It Happened In Key Key West @CharingCrossThr

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This isn’t your typical West End Musical at the Charing Cross Theatre . Creepy German radiologist Von Cosel treats a woman, Elena, for tuberculosis. She dies. Two years later he digs her up and lives with her. Parading her about, propping her up for the following years, Weekend At Bernies style.  He’s convinced that she is the vision of the woman he would spend his life with. As she decomposes, he imagines a life of bliss. On one level it’s not a very convincing musical. The score at times seems to mimic Andrew Lloyd Webber. It’s also overlong with superfluous exposition. But there’s something likeable about this musical. It’s polished and has some terrific performances. Other famous necrophiliacs were weird. You’d never want to eat a curry from Dennis Nielsen. Nor would you want to be a hospital patient when Jimmy Saville was around. But Von Cosel was seen as mostly harmless. The fake news of the day pinned him as a hopeless old romantic. They put Elena’s do-it-yourself mummified body
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Guns and roses: But It Still Goes On @Finborough

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Repressed homosexuality, sham marriages, vengeful lesbians and global chaos. What’s comforting about Robert Graves’s But It Still Goes On is how little things have changed since the interwar period. Well perhaps there’s less repressed homosexuality nowadays in London. Written in 1929 it’s having a belated world premiere at the Finborough Theatre until 4 August. Part comedy, part tragedy-melodrama the action focuses on the family of Cecil Tompion (Jack Klaff). A popular and hard-living writer whose children have lived in his shadow. He left their mother for a woman who gave his work better reviews. His son, Dick (Alan Cox) survived the trenches but remains haunted by a gun he used to kill a soldier. Daughter Dorothy (Rachel Pickup) is a doctor and marries Dick’s best friend David (Victor Gardener). Trouble is that David’s in love with Dick. Or should that be just dick? And when Dorothy’s friend Charlotte (Sophie Ward) isn’t in love with Dorothy she’s in love with Dick too. It’s frank de
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Bend and snap: Circa’s Peep Show @UnderbellyFest #CircaPeepshow

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Watching from the sidelines of Cira’s Peep Show feels a little dangerous at times. Other acts might splash you or have their props fly in your face. But this act feels at times like the acrobats will land in your lap. Bodies assemble. Muscles tense. Veins start to throb. Then they fall, the bounce, they appear from out of the shadows. It’s fascinating and a little bit unnerving. Particularly if you’re sitting up close to the action as a body falls toward you. Although when they do they break into a roll. It’s currently playing at the Underbelly Festival on the South Bank. In a physical and breathtaking 70 minutes bodies are thrown about, bounce off each other and contort into positions that you don’t think could be possible. Or at least without hearing something go pop or snap.   Keeping in theme with Circa’s other minimalistic productions, here the focus is on the body as a performance machine with few props. The premise behind the show is less on sexual gratification and more on the
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Urban renewal: Flesh & Bone @Sohotheatre

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From the beginning of Flesh & Bone, it’s a noisy in your face portrait of life on an East London council estate. It’s almost as if you expect them to punch any member of the audience checking their phone. Or leaving to go to the bathroom. They shout at the audience, they even pick one up so a baby can be delivered on their seat. It’s currently playing upstairs at The Soho Theatre . But amongst the loud mouths, drug dealers and geezers there’s a bunch of rough but loveable characters emerge. Even if you still remain unsure if want to share a pint with them. It could be considered a follow up to Berkoff’s East, given it’s reliance on verse and comedy. But it is less confronting. And the attempt to throw the threat of council eviction towards the end seems contrived. But it’s still a clever piece of writing. Aside from the fast-talking and fast paced action, it sets up a series of characters that have you wanting to know more about them.  There’s Terrence (Elliot Warren) and his bird
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Big Rhythms: The Secret Lives of Baba Segi’s Wives @arcolatheatre

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There’s no subject matter taboo in The Secret Lives of Baba Segi’s Wives. This is a play where the title character’s penis is described as “so big that two men could share it and still be well-endowed.” The characters talk to the audience, throw props at them and emerge from the audience. Detailed and frank depictions of sex and gender dynamics play out before you at the Arcola Theatre . Yet behind the funny and frank depictions of sex, there’s clever storytelling in this adaptation for stage by Rotimi Babatunde, from Lola Shoneyin’s novel. It deftly moves between comedy and drama, past and present without skipping a beat. Baba Segi (Patrice Naiambana) looms large over the piece. He’s a rich business man. But he’s also a buffoon who has three wives. The combination makes him likable even if he cannot believe women can fend for themselves or if he uses his organ on them like a hammer. His first wife had money and was the daughter of his mother’s friend. His second wife was to pay a debt
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Quintuple threats: Daisy Pulls It Off @charingcrossthr

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It’s a sign of the growing complexity of the world. Tomorrow’s performers don’t just need to be able to act, sing, dance and play a musical instrument. They also need to play hockey. Well at least they do in the graduating group of actor-musicians from the Guildford School of Acting. They’re currently performing Daisy Pulls It Off at the Charing Cross Theatre. The performances are fascinating and at times exhausting to watch. Particularly in the hockey match final. Cast members have musical instruments, tell a story, dance and while playing hockey. Clever buggers. The show’s about Daisy who is a schoolgirl who has won a scholarship to a girls schools. Being England she has to overcome prejudice and snobbishness of the other school girls. But of course a show with a title suggesting she “pulls it off” you know what’s going to happen. The show by Denise Deegan dates from the early 1980s. It ran for over 1000 performances in the West End and won an Olivier Award. It’s the type of provinci
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Lovely spam: Cockamamy @TheHopeTheatre

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Alice is starting to get a bit absent minded. She left the can of spam in the sofa. And she forgot that her daughter is dead. But when do these little things start to become the onset of dementia rather than just being part of old age? Afterall, who hasn’t forgot they already had a few cans of spam in the cupboard when they go shopping? It’s all part of Cockamamy, which is currently running at The Hope Theatre . Part of the charm of this piece is that even as things become bleak, there is humour found in the everyday situations. And dementia can be funny while nobody is getting hurt. Alice (Mary Rutherford) says what she thinks. She has a pizza a 5am when she’s hungry. She tells her granddaughter she landed on her feet dating a doctor,  while pouring him a big glass of wine.  Her granddaughter Rosie (Louise Coulthard, who also wrote the piece) feels obliged to look after her. She gets a cleaner in to help and she gets an alarm hooked up. But as she wants to get on with her life she fin
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