On the face of it, an evening watching a play on the deterioration of a relationship from discontent to abuse might not seem desirable. But when the talent behind it is one of the country's finest up and coming theatre companies, then it most definitely is.
Holy Mother of God! Fleabag really is as good as they say. Winner of a Fringe First at the Edinburgh Festival Fringe last month, the West-End transfer of this much-talked about show had me very excited. And boy did it deliver.
Last week, I had the pleasure of seeing Russell Brand perform at Soho Theatre. It was an intimate affair; a test run before he shoves his jokes into a duffel bag and sets off on tour.
The show itself was almost like a James Rhodes' mixtape - a collection of short pieces from a range of James' favourite composers. Indeed even the man himself hinted at such an approach when he stood up next to his piano and bashfully said that the theme he'd picked for the evening was "Love", surely the only true reason any mixtape has been made?
The whole show lives in the implied context that we give to his actions which he exploits to add an air of sexual menace to proceedings. The mimes become graphic, violent, sexual, etc because of the meaning we apply which makes every action as uncomfortable as they are hilarious.
I first got into Spoken Word around 2001. I was a part of a DJ outfit & we used to play Funk/Hip Hop/Garage/R&B at clubs up and down the UK (And even hit Ibiza). We were planning a special Valentine's night & there was this guy who wanted to propose to his girlfriend by reading her a poem.
The most immediately striking thing about an evening of spoken word is the almost tangible electricity in the air. No one is quite sure what to expect because every act differs in tone, delivery, style and content which turns the evening into a mad up and down trajectory of individuals pouring their hearts and minds into a microphone for an appreciative audience.
God's Property is a new play set in 1982 - a time of inner city tensions, unemployment and riots. The timing of the play, written by Soho Six writer Arinze Kene, is apt.
As a Liverpool fan, this reviewer must admit that he had a vested interest in seeing this play. Few subjects pull at the heartstrings quite so much as the Hillsborough tragedy, so it was with morbid curiosity that I sat down to watch Luke Barnes' Bottleneck at the Soho Theatre.
Describing Lady Rizo is a bit like trying to explain 'Django Unchained' or 'Pulp Fiction' to someone who has never seen a Tarantino movie. Both deliberately push against categorisation. She's funny, yes, but not at the expense of being dark and thoughtful.