Paul in London

You know things have really gone to the dogs when four-legged friends are being rounded up and used as collateral. The dogs are used by migrants to pay to escape to a better life in East Oolia. Such is the slightly absurd but strangely familiar tale called The Border by Afsaneh Gray . It’s just finished playing at the Peckham Theatre but continues touring other sites and schools. It opens with a young girl from the fictitious town of East Oolia called Julia. She’s just lost her dog as a border wall went up to divide East and West Oolia, and he ended up on the wrong side of the fence. The mayor did it to deliver on an election promise and to stop those West Oolians taking jobs from the East Oolians (or something like that). As Julia embarks on a quest to find her dog, she stumbles into a divided country. Her own family is divided, and immigration and crime (in the form of dog theft), is spiralling out of control. Things get really interesting towards the end when the actors b

The only thing missing when you walk into The Bunker and see it transformed into a working pub is the smell. That unmistakable smell of stale beer that permeates those old places is missing. But everything else is there. The worn carpet, the pool table, the tat on the walls. It's a terrific way to set the scene for the next two hours of comedy and drama that is Anna Jordan's We Anchor In Hope. Set on the last night of the Anchor, a pub trapped in the eighties when it's 2016 and located somewhere around Pimlico in London. The pub's been sold and about to be redeveloped into luxury flats (or perhaps a Tesco Express). The night before it was packed for the formal closing. But on the final night, a couple of regulars, the bar staff and landlord get together for one last time. But as the bar slowly runs dry and everything is cleared out (even the Aperol), things take a darker turn. And what's revealed is less of a community than a series of frustrations and unreali

Written fifteen years ago as an absurdist comedy, a portrayal of an attempt by a far-right group to set up a white-supremacist state in East Anglia could today be seen more like a documentary of today’s troubling times. But there is nothing like a funny and timely reminder of the deadly threat that far-right groups still pose to this country.   Partially inspired by the neo-Nazi group Combat 18’s attempts to set up such a homeland in the 1990s, it follows an MI6 agent’s attempt to infiltrate the group.  But a funny thing happens on the way to set up a white-supremacist enclave as a gruesome murder is committed on some waste ground in Harlow. Well, Rome wasn’t built in a day either. But Peter Hamilton’s play, Danelaw is currently playing at the Old Red Lion Theatre until 5 October. See it and laugh nervously... 

  A Booker-Prize nominated novel by Chigozie Obioma about families, vengeance and fate, is adapted into a two-hander play and currently playing at the downstairs space at Trafalgar Studios . It’s an intense, haunting and brisk adaptation by Gbolahan Obisesan of two men reunited after a tragedy. A prophecy of foreboding trouble haunts four brothers living in a small Nigerian town. Two brothers, Ben (David Alade) and Obembe (Valentine Olukoga), secretly fish at a forbidden river along with their two older brothers. They risk both their lives and angering their father by fishing there. Until one day, they come across a madman who changes their lives permanently. It opens with the two brothers meeting on either side of a riverbank. Some time has passed, and their reunion at first brings joy. And then takes a darker turn as family relationships, guilt and superstitions are remembered. As the two storytellers, Alade and Olukoga bring humour and warmth to their roles as they port

It's not enough for a circus act nowadays to offer a series of acrobatic feats. Nowadays, they are pushing all sorts of conventions. There's the all-male, the all-female, the all minimalist. Rouge is the all gender fluid pan-sexual circus for grown-ups who like a bit of everything. But only if that everything includes a little bit of nudity and a bit of mild titillation.  The men wear eyeliner, the pairings are male-female, male-male and female-female.   Strong female types abound throughout. It's a unique concept that's marred by its own timidity. It's currently playing at the Underbelly Festival on the Southbank . The performers are interesting enough. There's the aerial trapeze, the ring, and the strap. All are deftly executed. There's a terrific flame swallowing routine which seems all the more intense in the confines of the Spiegeltent. An inventive sequence happens where the performer is wearing a lampshade and combines hula hoops with

When sexagenarian Anne Edison Taylor becomes the first person to go over Niagara Falls in a barrel, she thinks it will lead to fame and fortune. But achieving recognition is one thing. Maintaining it is harder. Particularly if you're a bit boring. Or old. Or a woman. And it's 1901 by the way. Thoroughly modern women didn’t exist back then. Nor could they vote. Queen Of The Mist is an unconventional musical for an unusual subject. It’s currently playing at Charing Cross Theatre . Against the backdrop of anarchists, suffragettes and presidential assassins, a woman designs her own barrel and goes over Niagara Falls as a way to make money and financial independence. A feat that no one else had yet achieved. Yet fame is fleeting, and things don't work out how she envisaged. Her Manager Frank Russell (Will Arundel) runs off with the barrel. People lose interest in her story. Suffragettes dismiss her as a carnival act. And she ends up spending the rest of her life (and m

An evening of songs by composer Jerry Herman weaved into a song cycle about the excitement of being on stage, or anywhere for that matter is an unexpected joy. Particularly when it's sung by a young and energetic cast. It's currently playing at the Union Theatre . It's been over thirty years since an original Jerry Herman musical has been on stage. That none of the cast were born when these songs were written probably isn't lost on the audience.  But Herman's work remains almost a regular feature of the West End as Andrew Lloyd Webber's Evita or Joseph. Recent years have seen La Cage Aux Folles, Hello Dolly! Or Mack and Mabel.  For a period from the sixties through to the early eighties, Jerry Herman wrote musicals that helped define the idea of what a musical show should be. Emotional, funny and always tuneful.   Now there's a chance for a new generation of musical theatre graduates to take on his work. With the young cast of ten performer

August at the Arcola Theatre is an opportunity to see fresh takes on classic operas or forgotten works by up and coming opera companies and artists. They call it Grimeborn (just so you’re not to be confused with that other opera festival near Lewes). This year’s series included a chance to see Rossini’s Le Comte Ory translated into English by company Opera Alegria . The time and place have shifted from the Crusades to the Second World War, but it’s still the same story.  A  slightly randy Count Ory (Robert Jenkins) tries to woo his way into the life of Countess Adéle (Naomi Kilby) while her brother is off fighting the war. While the women wait for their men to return, they’re growing vegetables and making do on the home front. But Count Ory hatches a scheme for him to appear as a hermit who can advise on matters of the heart. That doesn’t go to plan, and Adéle falls in love with a farm boy. So his next idea is to reveal his true feelings to her, disguised as a nun. It’s a