Paul in London

Cult eighties television is the launch pad for looking back on a life sort-of lived in Dark Sublime. A long but rewarding look at how trivial and inconsequential things can end up being so much more. In this case, a crap science fiction show alters the space-time continuum with enduring rewards, and a chance to reflect on a life well lived so far. It’s currently at Trafalgar Studios . Marianne (Marina Sirtis) is a serious actress who reached fame with a London Television science fiction show, Dark Sublime. Full of cheap effects and overacting, it was a minor hit when it aired in the eighties and since developed a cult following. Her television work gave her fame and paid for the mortgage. Nowadays, she makes ends meet with random jobs that pay for her penchant for cheap wine at Tesco. But a young man with a childhood obsession for Dark Sublime (Kwaku Mills), tracks her down for his fan website. Their meeting leads to a moment of reflection of where she is in her life, a

Koko Brown is a strong, independent, Black woman. She’s written one show, and she now has another called Grey playing at Ovalhouse Theatre . A fantastic performer who uses spoken word, live vocal looping and multimedia to tell her stories, she has so many exciting and fabulous thing in her life. What could be wrong? But she’s also a little sad. And this starts the story and journey exploring in mental illness and having an elusive good day. Similar to the exploration of labels and names explored in her first work, White, Brown uses Grey to tell a story about mental health and discovering who she is and as a black woman in modern Britain. Candid, honest and provocative. It's also funny. And it’s moving how Brown, as the character Woman, depicts her journey as she struggles to cope with everyday life before seeking help. Then after help the unexpected side effects and consequences of drugs on her body, while still trying to be everything everyone expects her to be. Alongsid

The Flies at The Bunker theatre is a chance for production company Exchange Theatre - which specialises in translating plays for English audiences - to return to the piece that put them on the map. With live music, video and eye-catching design, it’s an ambitious piece. But it seemed to miss any sense of drama. And it’s star actor Meena Rayann was off too. Jean Paul Satre’s take on the Oresteia and the Electra myth, was written during the Nazi occupation of France. Fast forward seventy years, it's tempting to equate today’s new nationalists with yesterdays fascists. But it's a lazy comparison given the grand themes under exploration here. It feels more like an apparent dig at Nazi occupation, organised religion or group think over fake news, immigrant bashing and economic hardship. It opens where two travellers approach Argos, a town where everyone is in mourning. One is Orestes in disguise. The city has become a dark place cursed with flies as punishment from the Go

Nowadays no self-respecting gay play can be staged without full frontal nudity of some kind. It feels like the default response for the modern gay play now that gay rights are no longer an issue .   Afterglow, currently playing at Southwark Playhouse , serves it up in spades. From the beginning, three men are in a bed, naked. There’s what appears to be a very brief exhalation of ecstasy, before the obligatory rush to the shower. But the gratuitous nudity and excellent performances can’t conceal this is a pretty conventional and predictable story about a fantasy couple.  The three men in the simultaneous orgasm at the start of the piece are Josh, Alex and Darius. Josh and Alex seem to live in a New York world where they can afford a rooftop apartment in Manhattan while holding jobs as a theatre director and a grad student in chemistry. As writer S. Asher Gelman based it on his own experiences, perhaps gay plays with full frontal nudity are the way to achieve financial security

The latest instalment of the Up series landed this week. It tracks the lives of a bunch of unrepresentative British people every seven years. Fascinating in its ordinariness and irritating by director Michael Apted's random and pompous commentary, it was on my mind as I was watching Country Music. It's a much more subtle exploration on how people change over time. Or at least your perception of them. And how your life can be shaped from your early years in ways you can never appreciate. It's currently playing at the Omnibus Theatre . Jamie (Cary Cranson) and his girl from school, Lynsey (Rebecca Stone) are in a car Jamie has stolen. Along with a large bag of crisps. It's 1983, and they're just out of school. They talk about getting away and the benefits of different flavours of crisps. But beneath the surface, something isn't quite right. Jamie has a short fuse. There's talk about a mighty fight. And soon, Lynsey is scared. Things jump forward a f

Custody has returned to the Ovalhouse Theatre  following an earlier run there. Seemingly taken from the headlines, it follows the fallout from after black man in south London was arrested and then dies in police custody.  “There was a bit of a scuffle, and I’m sorry to say he passed away,” Informs the police officer arriving at the home. And then his family and his lover are left behind to pick up the pieces and pull together the strands of information about what happened. It’s a powerful piece inspired by creator Urban Wolf’s experience with the police and written in collaboration with Tom Wainwright. Part poetry, dreams, reality and anger, a series of short scenes come together to paint a picture of how the system is against people from the start if they don’t look or act the right way. Written at the time of the Independent Police Complaints Commission (which has since been replaced by the Independent Office for Police Conduct), it details the petty bureaucracy and ge

The shadow of Grenfell looms large in J’Ouvert, It fills Theatre 503 with the colour and flavour of the Notting Hill carnival. It’s an epic and personal experience of three women during one day at the event. With its intricate storylines and sharp observations about life in the Royal Borough of Kensington and Chelsea, it’s an impressive debut from writer Yasmin Joseph. Even with what appears to have been a difficult journey to bring it to the stage. In the piece, three women play a range of characters. Two are best friends and locals who have been going to the carnival forever. Another girl has joined them for reasons that become clear later. As they spend the day trying to get a drink and a dance. And some overpriced food, the characters that make up the event come to the fore. What becomes clear is a slice of life of the need to party, the need to be angry and the need to get on with their lives, without harassment or violence looming large. There are the old timers who ha

Flinch is a play about gender roles. But it’s also a timely reminder that you date actor-writers at your own peril. As you never know if you’re going to be the material for their next piece. Emma Hemingford writes and co-stars in this piece about modern relationships which is having its debut at the Old Red Lion Theatre . She plays Jess, an actor of sorts struggling with auditions and lecherous directors. Mark (Joseph Reed) works in the city as a trader. Just as they move in together into his Bethnal Green flat, an incident happens. A violent mugger appears and threatens them both. Mark flinches (or according to Jess screams and runs away, leaving her alone). It turns out it was a bit of a joke since the mugger was brandishing a banana (and wearing a pretty camp t-shirt). But this sets in motion a series of innocent conversations that lead into darker territory about the disappointments they have with each other.  The piece works at it’s best during these conversations. And i