Out of the darkened stage emerges the frozen static image of a classical ballerina. There is just enough light to make her out, enough dark to keep the image obscure – a glimpse of a young woman and the promise of a dance. It’s a tantalising opener and all the more evocative for its hard to […]

Performed in a bouffon clowning style full of grotesque expressions, costumes, and make-up, this piece communicates clear social commentary on the treatment of the elderly and institutionalised. It features five such clowns, who thank us for coming with a gift of chocolate, and welcome us to the play they are putting on. They regularly address the […]

Sister Sledge’s classic disco track He’s the Greatest Dancer is playing. The Basement main space is packed – sold out for a lunchtime dance show from Iceland! Everyone is relaxed and chatty, including the two performers who are just hanging out in the performance space, casually greeting people as they come in. One is a slim, […]

An empty stage, cool blue lighting. A metal-framed hospital bed, and to each side of the performance space thin muslin curtains – translucent veils that obscure rather than hide. On the back wall, a screen. Bolt opens with moving image. Our point of view is from the ground, and we are looking up into the […]

The team who made last year’s Buddhism: Is It Just For Losers? (whose title was one of the funniest parts) have hit comedy gold this time, with a forty-five minute shake-down of performance that leads you right up the proverbial garden path and straight into the man-shed. It skewers all theatrical tropes and theories about […]