In 1974, three sisters were found dead in the desert region of Chile. They were tied together at the waist and hung near their home. To this day, speculation still exists as to what happened to them; if this was a suicide pact or something more sinister. Beasts tells the story of these sisters while also highlighting their struggle of holding on to what was dear to them when faced with roadblocks at every turn.
Alejandra Marin, Maria Paula Afanador and Samantha Urquijo-Garciaare portray the Quispe sisters, and they deliver strong performances, conveying much emotion and feeling through their body language and movement. Each actor shows the conflict that these sisters is experiencing, which while they each respond to it differently ultimately reach the same devastating end.
At one point, the sisters discuss how the world outside of their land has changed as they attempt to explain the modern wonders of electricity
and television to each other. They
are later pressured by a trader to swap their warm, functional clothing for
lighter, brighter clothes that people are embracing. This constant
push-pull on tradition and modernisation leaves us questioning who the
'beasts' of this story actually are.
We all know behind every feminist is a great man. Right? If you're unconvinced then look no further than the case of the two teenage boys in Dazza and Keif Go Viral. Created and performed by Danni Ray and Keely Windre, the show follows two best mates who are accidentally thrust into the feminist limelight and their response to this new found fame and...responsibility.
Dazza and Keif are so realistically portrayed by Windre and Ray that it sometimes becomes a little frightening just how convincing they are. Their physicality, expressions and language are everything you would imagine such teenagers to behave like. Windre is at total ease with Dazza's obnoxiousness and loudness and Ray brings a more sensitive and grounded, but equally frustrating Keif to life.
Even with the demanding physical requirements of the show, the energy between the two never wanes. There may be great chemistry in the relationship between the boys but this is grounded in the chemistry between these two talented performers.
The year is 2028 and it's been six days since the Queen died. King Charles is privately mourning her death, seemingly ignoring the fact that the monarchy's reign is about to be overthrown by the House of Commons. But 14-year-old Prince George has a few tricks up his sleeve to save the monarchy and ensure his rightful place as the future King.
Written and performed by Patrick Livesey, The Boy, George is a queer and satirical look at privilege, power, the struggle to hold on to it and what happens when the
tables turn, and it's all fabulously seen through the eyes of the now 14-year-old Prince. The set and costume designs consist of a few select pieces that tell us all that we need to know about George; there is a chaise longue that he reclines on while wearing his pink pyjamas, pink robe and pink slippers. On the table next to him, incense burns with three framed photos of his 'Gods': The Queen, Princess Diana and his mother Kate.
While George adores these women, he has nothing but contempt for the men in his life. He sees them as weak minded and inept, so it's all fallen on his shoulders to save the monarchy. He attempts to record a video urging the citizens of England to retain the status quo, but for a number of reasons he is unable to complete this, partly because his thoughts turns to a fellow classmate at Eton College on whom he has a crush on.
"Congratulations! I’m so happy for you.” How many times have we said that to people? When your colleague gets a promotion, when your friend buys a house, or when a family member gets engaged. But how often have we said it with a tinge of...well...envy. In Rachel Mars’ envy affirming Our Carnal Hearts, this very private emotion is put under the spotlight through a wondrous combination of storytelling, music and singing.
Mars has the audience hooked from the second she walks into the performance space. She appears confident and relaxed, but her face hints at a cheeky playfulness. It doesn't take long for her mischief to become evident and subsequently spread into the audience, making interactions of sharing our bitterness towards out friends' successes and another involving two plastic chickens all the more entertaining.
Spoiler alert, when Ross and Rachel finally got together in Friends, there was much celebration from fans of the iconic TV show. After all, we'd been waiting ten years for this. Once the show was over, we assumed that that was their happy ending. They were meant for each other. But what happens when that happy ending doesn't come? James Fritz' Ross & Rachel picks up on this story ten years later and reveals that what we may have wanted back then could easily be what is slowly killing us now.
Fritz's play is intended to be performed by one actor in both roles. The transitions between characters occur instantly throughout and sometimes before a sentence has even been finished. This can make for a challenging narrative to follow, but the idea of losing one's self by being in a relationship is made abundantly clear. While this is told through the characters of Friends, it is still accessible for those who don't know the TV show as references to the show will appeal to fans but are vague enough that non-Friends fan will still be able to understand. Ross & Rachel isn't about Friends, it's about two people who thought they were meant to be together.
