Cast member Lydia Rose Bewley, image by Jim Tanner

"The set and its decoration help establish a feeling of discomfort and unspecified threat which fit very well into the content and drama of the production. " more by FringeReport

"Director Nadia Papachronopolou demonstrates skilled staging and a feel for structure as well as passion for the period. High praise is due for achieving consistently strong performances across the cast and, in the devising process, drawing out some truly delightful characterisations." more by Tara Paulsson

The cast of ‘He’s Not Black’ work well together as a company and are fully committed to their roles. Wayne Joseph, in particular, turns in an emotional performance which captures well his character’s inner turmoil. But the script and direction by Chima Nsoedo need more work. more by Megan Hunter

Here's Amy, "Ideally we are looking for 2 strong female roles, could be a 2-hander, around an hour long.  We will be exploring all avenues. Please send scripts to Amy at: rocknrolltheatre@gmail.com". Link to show

Somebody somewhere is going to take up the idea that the tube map is racist; the brown and black lines for non-whites, blue for blue bloods, and the line to Golders Green looking like a Jewish nose. It’s a wonderful conspiracy theory and particularly appealing because it’s totally daft. Which party, I wonder, will use it in its campaign at the next election?

Expounding the theory while sitting on the tube is a good place to consider at it, as two young actors argue for and against in an echo of Dudley Moore and Peter Cooke in their dead pan hilarious conversation, one of a series sketches in “End of the Line,*” in a set that neatly replicates a tube carriage. No less loopy – but equally funny - was the young man who had a problem looking at his feet, and the strategies he adopted to keep them – if that’s not straining a cliché a little far – at arms length.

Not all the incidents were funny; the rat pleading with the late-night traveller not to jump onto the line, and the sweet/disturbing conversation between the man and the woman he picked up were just as engaging and absorbing although at a more sombre level.

More vivid, but oddly funny – not really pc to laugh at this, but we did – was about the man who courteously offered his seat to woman with a baby (alright so far) so he could stand up very close behind a strap-hanging tipsy girl and try furtively to molest her. Good deeds have unexpected consequences.

The racist sketch, where on officious inspector let loose her poison views on a black woman who couldn’t produce an ID was less successful. Powerful stuff, and like every story, well- acted, but sadly we know about this already, and setting this incident some time in the near future didn’t seem relevant. It didn’t offer any insights; some white officials are loathsomely racist now, and will be in the future.. – Fabian Acker

*End of the line: Tales on the Tube - until 25th August at The Roadtrip Bar, Old Street

Philip Osment's script is profound in its complexity of the many kinds of abuse - each character except one is abused - and the interweaving of the story's plot lines. Diana Thomas directs with consummate skill; she uses the stage space effectively to separate scences which link to different times and locations, with minimal sets. Her subtle direction of the actors is sensitive in conveying the complex variations and degrees of abuse undergone by the characters, but with striking impact. more by FringeReport

The Winning Play will be announced and given a trophy as recognition at the London Awards Ceremony on the evening of August 26th at the Waldorf Hilton Hotel, Aldwych. Representatives have been invited from each production team.

Kathy lives in California. Sultan's Battery, is opening in Los Angeles on September 24th at the Whitmore-Lindley Theater.

Reading performances of the above plays will take place on August 22, 23rd at The New Diorama Theatre

Overall The Sorry People questions, to use its own words: 'What was wrong? What was right? Are motives easy to define? It is a humorous show, a dark comedy. The script, by Paul Eccentric, uses the humour to provoke thought, to provoke an internal moral debate, and to dampen the impact of the horror. more by FringeReport

.. the performer holds the stage confidently and commands the space. His presence is there - he is easy to watch, and there is a willingness for him to succeed, which is crucial for a performer. more by FringeReport

After The Tone has the advantage of a good cast, good musicians, and good music, lyrics and libretto (Oliver Fenwick and Russell Thompson). Unfortunately, these do not make the material interesting or attention-grabbing, and there are no memorable songs to take away - which a musical does need. more by FringeReport

This is so we have enough time to inform the producers of the winning play and for them to attend the London Awards Ceremony at the Waldorf on Thursday, August 26

As part of the London Festival Fringe, newcomer David Savage took the decision to bring his brand of comedy to The Bridge House Bar. Dressed in jogging bottoms and a t-shirt reading Molly and Friends for Dementia, Savage bungled on to the stage with a flap cap and walking stick. To look at him you wouldn’t think he’d drive a turbo-diesel Honda Civic. He’s 66! But a turbo it is! Even though he is confused by the car’s security system and gets ignored by passersby when locked inside with the alarm blaring. Still, give him a third off on his travel rail card and he’d rather catch the train any day – even if his journey is spoilt by people talking into their mobile phones in the quiet carriage!

With an insight into growing pains, the medical profession and the depressing attitudes of today’s youth, Savage has the issues and the witty one-liners of Victor Meldrew and Alf Garnett, and though he lacks the conviction – or perhaps the confidence – to fire off rants with both barrels, he certainly has plenty of ammunition within his arsenal. For someone new to the game, at times Savage was right on the nozzle, and other times way off the mark.

Making his comedy debut and swigging on his “spitfire” beer, Savage swiftly regales us with hilarious stories of his life and shares his amusing – and often poignant - observations about the deterioration of the modern age and for this writer his performance summed up the first ever London Fringe Festival – not quite polished, but bags of potential to shine. [ By Richard Oldale ]

The Bridge House Bar till 9 August 2010

Not surprised they had to put in extra seats for the first night of Stitches. Even so it was packed. A year in preparation and fine tuning, gave us a dialogue that was both witty and poignant. As Christina Carty (Carmel) told me afterwards; “You hear the audience laugh, and then suddenly you realize – yes that’s exactly what we wanted.”

Yet beneath the comedy, there were dark moments barely glimpsed. Two couples, trying to engage with each other, but each pair encumbered because of what had gone before.

“You should never have laughed at that”, said Cendrine (Gabriella Schmidt) bitterly; that was just enough to tell you that one couple had once had a shared past that was full of hurt and missed opportunities, and was now about to wreck their renascent relationship Another couple was trying to cope with death in their respective families - “complications” as they called it - and the audience began to understand how their present odd and sometimes endearing behaviour was shaped by what had gone before. The two talented writers, Amy Cudden and Laura Murray, might well have had Chekhov’s Cherry Orchard in mind “To begin life in the present, we must first atone for the past.” Fortunately, any connection to the Cherry Orchard ends there.

Despite the underlying theme, the play is very funny, and Lucy Grattan (Victoria) delivers a hilarious monologue as an inebriated, jilted young woman performing at a pub’s “open-mic” night. Embarrassing and bawdy; just the thing you’d like to avoid in real life, but absolutely spot-on for the play. Perhaps unfair just to mention a few names; every one of those young actors was perfectly attuned to their roles.

The individual scenes played out in the pub were devised and delivered so deftly, cleverly exploiting the existing pub layout.

Stitches finishes on the 13th ; make sure you don’t miss it. – Fabian Acker

The Half Moon Theatre in Herne Hill, 10 Half Moon Lane, SE24 9HU

There are at least two good reasons for going to see Vavoom, at the Courtyard Theatre, 40 Pitfield St, off Old Street.

It is a story about 'Showbiz' - and 'Showbiz ain't for everyone' (the catchiest number ) Well - that's the morality line. The audience can see why they themselves are not in 'showbiz'. However, Lilotta Vavoom is determined to give it a try, - however naive she may be. Llittle does she know there are folk in the background who are actually working on her behalf most of them to see that she gets to 'have a go'.

That's the story, - it's set in 1941, so we have the American and the English Radio reporters updating us on the News in brief humorous episodes, until 'Pearl Harbour'. Their entrances I am afraid took too long, - and slowed the show down. There could also be some trimming.

The other reason to see the show is that -here you will see the 'stars of the future' -there are no Rep. Theatres now, - so, the 'kids' come out of Drama School and have to gain their experience 'on the Fringe'. So, we have the Marilyn Monroe (lookalike) delightful Olivia Frances as Lilotta, and Kristen Wojciechowski as Velvet (who almost steals the show). James Meunier as Kerwin (the 'Rat') deserves special mention and David Luke as Johnie. Janine Pardo as Mimi Mosa, a showgirl returning to 'base', - brings a little more maturity along with Cathryn Sherman as Grandma NoNo and John Rayment as Wally, - the latter two have a particular 'parental' interest in Lilotta. As I said it is a 'young' (vibrant) company, and they deserve to be seen. The show runs until Aug. 29th Tues - Sun Performances 730pm.

By Tony Parkin.

Femme Fatale theatre company bring us a group of cleaning ladies who work nights at an office, but spend the best part of their shift analysing their problems, divulging their secrets and generally doing that thing that females do brilliantly when thrown together - ‘bonding’.

There’s Mo, the matriarch of the group, dishing out the advice with the cuppas, full of her own homefront woes, Chrissy the ‘loser magnet’ who’s preggers again, Helly, the new girl from Greece who attempts to lift spirits with her cheery Mediterranean outlook on life, the haughty Liz who is guarding a dark secret and the charismatic Dee who dreams of fame and fortune as a singer but can’t get a lucky break.

The ingredients for success is all here with an original and intimate setting and a well cast team who create a strong ensemble, portraying likeable and real characters, but the script tends to drag and repeat and the piece as a whole needs slickening up. Branded as a musical, it’s a shame that there are only a few songs, sung superbly by Dee (Yvonne Patterson). Diane Lefley gives a fine, stoic performance as Liz, but on the whole the individual story-lines need to be explored and expanded further in order to turn Scrubbers into the powerful, moving, yet funny piece that it has the potential to be.

By Saskia Willis

thank you to all who entered. Reading performances on August 22, 23.

Mix together a manic-depressive from Chicago, a Texan nympho-necrophiliac and a nervy-neurotic Frenchman with a few farcical props (i.e. toilet plunger) and you get the wonderfully funny Angela Unbound.

Deep in the carpeted basement of Leicester Square Theatre if you wish to forget the more serious things of life then come and explore them a little further by watching and laughing at William Whitehurst’s world premiere.

An ornate French sofa sets the scene of a Parisian 5star hotel where a struggling novelist finds himself blocked, with toilet plunger at hand he hopes his latest sexual sirenesque muse will provide him with some of the answers, enter translator in elfin shoes, brilliantly portrayed by Peter Glover, and we have the makings of a typical French farce.

Jonathan Hansler, as novelist in oriental dressing gown, pop socks and marigolds gives a highly energised manic delivery showing his expertise and comfort in the world of hysteria.

Both male actors give every drop of comical energy to Andy McQuade’s tight and creative direction.

McQuade’s vision is to hopefully extend the run: ‘I love this show so much and working with these guys has been rewarding to the degree that I am incredibly hopeful we carry on as a team for a good while longer!’

The beautiful and engaging Ewa Jaworski as Caroline aka Angela added a much needed poignancy between the more farcical moments of this play.

Whitehurst’s writing feeds our appetites with fast moving dialogue, an intricately contrived plot, and the occasional deeper observation of human behaviour.

At times I felt the overtly large performances lost a sense of truth in such a small setting, also the predominantly male sexual humour at times became a little tiresome.

Second Skin Theatre lives up to their established reputation of uncompromising and startling theatre. This is a no-holds barred farce about the trials and tribulations of the creative urge.

Treat yourself to a taste of sheer delight!
[by Swillow]

One of the skills of writing plays –or most fiction for that matter – is to make the implausible plausible. The spell-binding acting in Danny and the Deep Blue Sea* did just that, and it was only on reflection, a day later that some imperfections in the play itself emerged.

But first to these two actors, Amy Tez and Andy Jones They didn’t just speak with American accents, they spoke with Bronx accents. That’s dedication for you. And they were well cast. I know that the semi permanent snarl on Andy’d face was acting not casting, but the tattoos on his body? Were they real? Whatever. Exactly right for this bewildered frightened truculent drifter.

Amy was perhaps better looking than she ought to have been considering her background, but after a few seconds that became irrelevant as the acting took over, and she slowly changed from what appeared to be a flirtatious tart, to a lonely, hurt and desperate woman.

But beyond the control of the cast and the producer, was the noise from the bar next door. Initially this fitted the plot perfectly, but as scene changed from bar to bedroom it became irritating. And what credit to the two of them, that despite this, their lines were audible and nuanced. But such background noise militates against quiet talk, so that all the dialogue had to start a notch or two higher, making the shouting less of contrast to the quieter passages.

The producer managed a miraculous change of scene from a bar to a bedroom in two minutes flat, on a stage twice the size of a billiard table.

The imperfection? I won’t spoil your pleasure by saying more. It’s so powerful, you won’t notice until the day after.

Bit like a night on the tiles.

By Fabian Acker.

*Until 21st August, Phoenix Artist Club, Phoenix St. WC2H 8BU

Through the haze of scented cigarette smoke and distant babble of drinkers Amy Tez and her production of Danny and the Deep Blue Sea rises as a phoenix from the ashes of sorrow, hatred and human malfunction.

In John Patrick Shanley’s writing we encounter Danny and Roberta, desperate to connect, desperate for love and forgiveness. Not unlike his Oscar winner Moonstruck (Cher and Nicolas Cage), Shanley’s raw, ruthless and poetical writing explores the dark and shocking psyches of two damaged souls.

Set in a seedy bar in 1980’s Bronx the story mirrors the same human defects as in today’s inner city London. Andy Jones, muscular and brooding, sensitively expels the depths of Danny’s tortured soul: ‘I think I killed somebody....’ ‘They call me the beast...’

Amy Tez plays Roberta in plaid shirt and shorts - legs astride enticing Danny. ‘I’m lonely…’ The guilt and hatred carried causes her to spill over and confess to ‘sucking’ her father. Tez is captivating to watch bringing with her a gentle humour and charm.

Both actors provide the onlooker with an uncomfortable but enjoyable raunchy tension set to explode and spark with the slightest of suggestion or action. The setting of the bar is cleverly turned into a bedroom as the relationship deepens.

Unfortunately Jones’ character is partially lost as he turns into a stage hand helping in the quick transition. The Phoenix bar, though a little distracting with its noise from the adjoining room offers a wonderfully inspiring space adding to this raw and passionate drama.

Caravanserai Productions delivers their promise in keeping an audience on the edge of the seat and provides a first class experience of real and imaginative theatre. Dominic Cazanove is to be congratulated on his taught directional debut.

However the true tenacity shining through is that of Amy Tez who against all odds never gave up her dream to bring this production into being. Go and see it! [by Swillow]

Multi award winning Sell a Door Theatre Company keep you gripped to your seat with their latest premier of Where the Solitary Eagle Flies. Specialising in small scale theatre the company began the play’s run in Liverpool, showing now at The Rosemary Branch Theatre until 22nd July, and will then proceed to the Edinburgh Festival in August.

This dark and emotive drama is cleverly crafted by writer and producer David Hutchinson and intricately directed by Ally Thornton. Inspired by a true story Hutchinson’s plot seeks to examine how far love can fare in a world that has no place for it. Each character in turn epitomises the eagle: ‘solitary, lonely, selfish and angry…’

Short contrasting scenes introduce us to a story of young love, untainted and romantic, in contrast to a backdrop of war, destruction, and broken dreams. Family secrets are unravelled to expose the taboo of forbidden love.

Each location is quickly and efficiently created by adapting furniture’s identity, interjected with artistic choreography and fitting music.

David Hutchinson as soldier Michael gives an aggressively energised performance in comparison to Christopher Thorpe’s humble and sensitive performance of hapless romantic Jake. Jake’s conquest Rachel is beautifully displayed in Sarah Wolff’s bright and punchy performance. Other strong performances are also given by Carl Vorwerk, as slippery and masterfully controlled Saul, and Carina Low who plays a doctor with a secret.

Unfortunately the ending though clever and well acted brings a little confusion to the motives and identities of the characters we are observing. But I can strongly recommend this young and vibrant company who deliver a faultless and engaging drama which kept me captivated for its entirety. [written by Swillow]

Votes coming in for London Best Play Award 2010 for these plays: A Galway Girl/a Belfast Boy, Stage Fright, Arden Of Faversham, Mother Of Him, and others. 56 votes so far

Enclosed in the intimate confines of the Delicatessen Theatre, Scaramouche Jones (Tom Daplyn), a 99-year-old clown pours out his heart and regales us with his fascinating life story and his ‘strange destiny.’

It’s the eve of the Millennium and subsequently the hapless clown’s 100th birthday – and he believes he is about to die. Having had his umbilical chord cut with a fishmonger’s knife exactly a century ago, we hear the tragic tale of how the death of his prostitute mother, the ‘chief attraction’ of the knocking shop, was killed by a client, leaving him an orphan at the age of six. From there he is sold into slavery and taken to Africa before being thrown in Prison in Italy. Having being made to dig mass graves during the holocaust, he finds himself on the shores of Wales, where he adopts his surname, Jones.

Justin Boucher’s masterful script is expertly portrayed by Daplyn, with undying energy, comic timing and gripping pauses, superbly blending humour with sorrow. Expertly painting the picture of neglect and the fight for survival, the actor makes the most of the limited space to vividly explain the colourful life of Scaramouche, an orphan boy born that lives through a torrid century fraught with two world wars, political atrocities and countless inventions, including the controversial introduction of the lbw rule in cricket.

Director, Jonathan Constant should also be credited for a wonderful performance and the invention of such profound imagery, intelligently using props, such as curtains, a silk veil and a hool-a-hoop to transform the stage from one setting to another.

Scaramouche Jones is a poignant look through history and with startling insight reflects how the weak are subjugated by those in power. World events share parallels with life of the unfortunate Jones, a lost soul who didn’t laugh until aged 51. The powerful message is not only apparent throughout history, but evident in our own times and, one would imagine, in the future, thus the tragic tale of Scaramouche Jones will remain forever timeless.

If you fancy a night of the unpredictable and the experimental, then get yourself down to this quirky haunt, tucked away behind terrace houses off Stoke Newington High Street.

Upon arrival, it feels as if you’ve mistakenly stumbled upon the entrance to a backpacker’s hostel with ping pong and street chess in full swing and a group of cool dudes tending to the Barbie.  Inside, the makeshift bar offers plenty, including the cheapest moquitos in town a la plastic cup or fresh coffee served in chipped 1970’s teacups minus the saucer.     An eclectic mix of damp, moth-eaten sofas and rickety tables and chairs constitute the seating and all at once I do feel like I’m sitting waiting for a ...  well, it feels like it ....

The venue is hired out to all artistic get-ups;   bands, comedy, sketches, you name it.  My evening was an in-house night of entertainment.    Some of it felt very experimental, although everything was original and carried the potential of becoming something superb.  The beauty of it all is that these talented, dedicated artistes may now be in the foothills of their craft, but it’s not hard to see them becoming the successes of tomorrow. Ones to watch out for include the delightful Gemma Goggin who may be X-rated, but is also highly funny and touching too and Greg McLaren who recorded his week in song to create an interesting operetta between local shopkeepers.    However,  Sarah Ruff stole the show for me with her genius use of sound and visuals to create a darkly humorous, yet poignant piece which touches upon the human condition,  modern society, natural selection and quantum physics to name a few and all in 20 minutes!   Her sinisterly poetic writing had the audience in fits of laughter one minute, and stunned, pensive silence the next.   Catch Sarah’s ‘Hairy Mary’ as part of Pattern Fight Performance at The Brighton Festival.

by Saskia Willis

The venue: Stoke Newington International Airport, Leswin Place, N16.

It may be dank and dingy, but I’ve grown most fond of it.

Here's an excellent example of how to use the Fringe site for promoting your show from Brownsville Bred

More at www.zedcapricorn.co.uk/normalshoes

The conflict that has raged between Israel and Palestine  for over 60 years is no laughing matter, but conflict relief satirical take of the mayhem in The Arab, A Jew and a Chicken is so hilarious you will laugh to you cry.

The four-piece ensemble entwine politics and propaganda with the confusion and heart-ache of the real people caught up in an absurd war that shows no signs of change. With tremendous versatility, the performers switch effortlessly between scenes and characters, spanning the spectrum of age groups and demonstrating their knack for accents.

Intelligently written and superbly performed, the seriousness of the subject matter is made light of, though it has to be said in good taste. Even the British, French and American’s are egged at with one golden line claiming, “English bad. Bush mad. America stupid.” Even India, who to be fair have little involvement with events in the middle-east stem the butt of the jokes with one of the most amusing put downs of the piece: “My father said the worst people to know are half Jew and half Indian. Stingy and cheap!”

The Arab, the Jew and the Chicken is an excellently portrayed political comedy that, unlike the real conflict in Gaza, you simply do not want to end. Before jetting off for a show in Luxembourg, conflict relief will be playing in London at the Courtyard Theatre on the 11th and 12th March. [by Richard Oldale]

The inspiration for Plan D comes from real life testimonies of Palestinian Arabs that survived the war against Israel in 1948, but were uprooted from their homes. To this day the resentment remains a prime source of conflict between the neighbouring countries.

The play follows a Palestinian family, playful, close and content with life on their farm. It is perhaps poignant that the characters are not given names, instead referred to by their position in the family, father, mother etc, as this anonymity skilfully represents how the usurped Arabs were considered by the intruding Israelites; nameless and unimportant.

The opening sequence is light and jovial, introducing the audience to a normal household going about their everyday activities; Mother cleans the dishes, the children do their homework and Father smokes and tells stories. Other than Grandmother cleaning a revolver there is no reference to the ongoing battle or the political unrest that brought about the conflict.

The war is brought to our attention with the arrival of the cousin who has come with news that everybody has deserted his village, driven out by Israeli soldiers. He warns the family the same thing will happen in the village where they live. The introduction of the cousin raises the only moment of intrigue Plan D has to offer - the mother's well kept secret. Alas, the plays only hook is predictable and short-lived.

For such a provocative subject matter, Plan D should have been a powerful and enlightening examination of desperation and survival, but what it amounted to was a string of uninspiring stories tied together into a threadbare plot. Writer Hannah Khalil fails to unearth the tragedy and emotion of the Palestinian people and makes it difficult for the audience to evoke any sympathy towards her characters. This was perhaps epitomised with a sudden and seemingly unfinished ending which caused the audience to delay their applause in anticipation of the next scene. [ by Richard Oldale, Tristan Bates Theatre ]

A lovely acoustic theatre, 228 seats and recently refurbished, are interested in taking on small productions during the Fringe Festival.

MMD comprise 160 writers working in musical theatre, from Willy Russell and Sandy Wilson to young emerging talent. www.mercurymusicals.com

An established cabaret venue in the heart of Soho. We're looking to put on a special event here in March to promote the Festival.

It has a great piano bar with a white grand, and is a place for performers to drop in and, well, perform, ad hoc.  It's the place to go to for late evening comedy and cabaret.

It will be known as FringeRiver because it's a stones throw from the English Ol' Man River.

In this LAB we will research mythological patterns and characters with different methods: dance, song, meditation, martial arts, acting, painting, role play and writing.

The lab will take place from the 13th January 2010 every Wednesday evening 7-9pm for the next 3 months in Camden, London. It's not necessary to commit to all dates.

This is a FREE workshop, but participants are asked to be generous with their skills and knowledge and open to share this with others.

If you'd like to participate please let me know which mythological character you'd like to work on and what background (music, theatre, film, photography, fine arts etc.) you have.

Contact: Kai Irina Hahn, faunesk@googlemail.com

Theatre, in its different forms, is where our thoughts and feelings are expressed in the most creative and direct way to an audience. The London Fringe will present a series of three discussions on issues that are relevant and contemporary in our lives. The topics have been inspired by plays to be/written for the fringe.

ForePlay: 'The whole world is a marketplace for Love' - Farid ud Din Attar (Sufi poetry). A discussion of what we are sold as love and who deems to profit from these common misconceptions. From Pawnography, written by Tracy Keeling.

Pawnography, A Note from the Writer:

"I think history is of extreme importance, whether it be real or imagined. In fact, I feel that much of my originality exists in my ability to piece together elements of the past, in order to puzzle the present; much like an Alchemist working with his ancient elements to develop treasures anew, aided and abetted by his philosopher’s stone.

So, when approaching the subject of Love, I called upon the collective consciousness and found myself swooning at the feet of Juliet, literature's greatest contribution to the optimistic notion of love at first sight. Swiftly after, I was struck by Cupid, and his sorry story, which is so often misunderstood as a playful tale. With two of Amore’s major players dancing around my head, I figured I needed some balance…Cue the Marquis de Sade, the perfect pervert to rock any Love-boat.

In Pawnography, the words, stories and lives of these three passion players are ripped to shreds and reformed, along with poetic ramblings from mine own hand, to create a love story of mine own understanding. One where people break through the fallacy of true love lasting forever and finding peace with it's truth. Love is momentary, and sensational, accept that, and your heart will be never be broken again, but is that the Love we have been taught to trust?"

[Two other topics to be announced]

John Constable has been doing the London Fringe for many years now. Come along and hear him talk about Fringe performances at the London Fringe Club tomorrow night. Southwark Mysteries.

"We aim to present an eclectic mix of theatre arts to stimulate and entertain our loyal audiences and develop new ones. Opera, new plays, classics, cabaret and all manner of things in between are selected very carefully to maintain our reputation for high quality which we have nurtured since we took over in 1996. We do one in house production a year and occasionally co-produce with companies we have worked with before."

We're planning on starting this competition in the New Year, with a selection panel set up for judging the entries in the spring, so someone can produce a show from the winning entry for the Fringe in August. Sarah Loader, producer, is running this one. Will be contacting drama/writing students about this.

'Fay Presto blew me away', J K Rowling.

'You're a bloody genius', Sir Paul McCartney

link

This beautiful church, built by Inigo Jones, was established in Covent Garden in 1633. It is affectionately known as The Actor's Church because of a long association with the theatre community.

We're looking for a quality Theatre performance here, past shows include: The Mysteries : The Nativity

The Leicester Square Theatre is an exciting new theatre in the heart of Soho, with two exceptional spaces for drama, comedy, music and cabaret. A beautiful Main House with its unique, newly-installed Oscar-style seating (with two bars within the auditorium) and an intimate Basement Theatre with its own bar and cabaret-style seating.

http://20thcenturytheatre.com/

in the main house at Leicester Square Theatre, 6 Leicester Place, London WC2H 7BX, www.leicestersquaretheatre.com. 21:30pm (21:15pm doors) £12.50 to £15.00. Box Office 0844 847 2475.

Producer Emma Taylor; Director Will Kenning; Musical Director Chris Peake. Details www.newsrevue.com

http://www.newplayerstheatre.com

The Fashion and Textile Museum has teamed up with events company 'I Think I'm Here Darling, Where Are You?' and event extraordinaire Albie Hueston to create two exciting evenings of unmissable entertainment this summer.

Each night a new delightful soiree set up against the museums fantastic exhibition. For two nights only the exhibition, drenched in glamour, knickers, corsets and bras will be brimming with musicians, poets, dancers and designers who will entertain you into the evening. The event will also feature the world premiere of Ben Charles Edwards new short film "These Girls Don't Give a Frock!".

Tickets will not only get you into the exhibition but will allow you to discover some of London's hot new creative talents. An exhibition and a show all rolled into one. more

Come find out as Kim Tilbury explores what it's like to have a fine pair that literally speak for themselves. Aided by two supporting actors, Robert Bradford and Lexie Kendrick, Kim (un)covers adolescent confusion over protrusions, the effect of melons in the marketplace, great breasts in history, the Kubler-Ross theory of accepting your assets, and what happens to boobs when you age. shows

To celebrate the opening of the London Fringe at the London Bridge Festival the Southwark Playhouse will be hosting a launch party that includes dance, comedy, theatre, and puppetry. An exciting night of surprises, new ideas and experimental pieces that engage the audience and provide a first taste of the varied events taking place over the next two weeks.

Zipcar Theatre, Hay's Galleria, Photo: Jon Cartwright

A refreshingly new and comical insight into the lives of Grannies. Playing with the use of performance alongside 'the real', the cast is made up of a mixture of performers and their Grannies.

Granny theft auto uses four cars as sites allowing you to experience a broken journey through four installations which assault your senses. The audience are given the chance to experience first hand the inner workings of the complex and domestic world of the grandmother.

Only one thing is certain- you will never look at your Granny the same again!

Zipcar Theatre, Hay's Galleria, Photo: Jon Cartwright

Zipcar Theatre, Hay's Galleria
Photo: Jon Cartwright

Zipcar Theatre, Hay's Galleria, Photo: Julia Burstein

3 Directors - 12 cars - 24 Performers - 60 minutes

A mixture of plays, physical theatre, cabaret and comedy. There'll also be a top class stand-up comedian from The Funny Women stable ... and, in the greenest, and most economic publicity stunt ever, we'll have 'Human Flyers' on hand to tell people about the festival.

Press Launch, July 2, 7 PM, Hay's Galleria

Press Launch, July 2, 7 PM, Hay's Galleria

A refreshingly new and comical insight into the lives of Grannies. Playing with the use of performance alongside 'the real', the cast is made up of a mixture of performers and their Grannies.

Granny theft auto uses four cars as sites allowing you to experience a broken journey through four installations which assault your senses. The audience are given the chance to experience first hand the inner workings of the complex and domestic world of the grandmother.

Only one thing is certain- you will never look at your Granny the same again!

Sarah Ruff, Martin O'Brien, Directors/Performer

Ellen Cartledge (spider), Sophie Cairns, Bronwen Sharp (bingo slapper), Constance Ruff (herself), Nicola Singh, Jacky Ho (tea pourer), Edward Currie, Shona Bland, Elizabeth Hirst, Agnus Anna Towers, Chris Pilgrim. And thanks to: Jo Jhonson; Sophie Cairns and Philippa Miles.

programme

A refreshingly new and comical insight into the lives of Grannies. Playing with the use of performance alongside 'the real', the cast is made up of a mixture of performers and their Grannies.

Granny theft auto uses four cars as sites allowing you to experience a broken journey through four installations which assault your senses. The audience are given the chance to experience first hand the inner workings of the complex and domestic world of the grandmother.

Only one thing is certain- you will never look at your Granny the same again!

Occurrent Glow's production is set to revolutionise the relationship between theatre and poetry.

Incisions and Excavations has brought five poets, three directors, twelve performers, a visual artist and a composer to the operating table for the creation of an immersive and magical hour of site-specific theatre within one of London's most atmospheric museums.

Their patient: poetry. We invite you to hold a stethoscope up to seven poems, exploring their beats and resonances as they emerge with new, theatrical forms born out of their connection with the Old Operating Theatre in London Bridge.

Grafted into the roof of St. Thomas's church, this 19th Century women's surgery played host to amputations and childbirth in its day, and provided medical students with a raked auditorium from which they could scrutinise the operating table at its heart. The hospital apothecary practised his scientific art in the herb garret next-door, and it is through these two spaces that we hope to lead you on an evocation of life and love, death and delusion.

Occurrent Glow is a new company, set up to encounter the possibilities of poetry in play.

For more information, and to purchase tickets.

A group of party goers eagerly anticipate the night of their lives. The party of the year is to be hosted by the charismatic character of the moment, Charles. But along the way the party-goers take an unexpected turn in the road which leads them on an entirely different journey- - a journey into the unconscious mind. more
Directed by: Tory Sandars

Meeting with three directors today sorted out how we arrange 12 cars along the two private roads at the Hays Galleria. Each director has devised/written some really interesting performances for their group of four cars. But, as this is an innovative piece of theatre, things might be a little different on the night. We shall see.

Three directors and quite a few performers are currently working on this. We've almost certainly fixed the date as Thursday, July 2. Two performances, 7 pm and 8:30 pm. Still working on the location, though. Probably by invite only, as numbers are necessarily limited.

There's only so many people you can fit in a car while there's a performance going on.

"This is an opportunity to see the Fashion and Textile Museum as you have never seen it before! As part of the London Bridge Festival the museum will be staging a three night extravaganza of entertainment taking place amongst the latest exhibition - Undercover.

Developed by creative company 'I think I'm Here Darling Where Are You?'

For three nights in July you can expect a tantalising thrilling experience drenched with glamour and style. The exquisite exhibition will be intertwined with fierce voguing by some of London's hottest dancing queens, poetical treats from the critically acclaimed Dockers MC and live music from London's bright young things.

This event is related to Undercover: The Evolution of Underwear" From SE1

SP runs Secrets on Tuesdays, Thursdays and Saturdays before and/or after the main show. It is compelling theatre, and they are looking for artists and performers.

"Each 'Secret' is completely unique and our eclectic programme includes theatre, comedy, storytelling and live art." SP Secrets