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Taking Romeo and Juliet as an inspiration for this production, two a cappella groups battle it out for supremacy in this entertaining and light-hearted show. This is very loosely connected to Romeo and Juliet - with its tongue firmly in cheek, the story unfolds of two groups with a long-term grudge and a ban on romance between the two sides.
“Let’s disappear for a while into the decadent world of the 1920’s …”
The time machine comes in the form of a gramophone, a device that our host uses whenever he is feeling a little blue. His favourite Broadway show, “The Drowsy Chaperone” provides the needed escapism with “a story, and a few good songs” that will take him away.
A somewhat esoteric and quirky look at Nan Shepherd, this show focuses on the influences around Shepherd, inspiring her work and thought processes. Featuring a range of pop-up characters, this is an unusual introduction to Shepherd, interspersed with snippets from her writing.
A powerful and emotionally charged play, Bomb Happy is a fine example of the strength of verbatim theatre. With simple but clear direction, Helena Fox has produced a fitting tribute to those who were part of the D-Day landings.
Set at the end of WWII, Lest You Forget is a touching play from this young theatre company. Looking at the impact of war on those involved in the fighting, it explores how relationships are affected and the choices made because of this.
The actors work well together as an ensemble, with several lovely moments where there are choreographed sections of movement, during dance routines and storytelling segments. In addition, a couple of the cast members perform songs that showcase their voices well.
This young theatre company takes an interesting look at the number of decisions we human beings make each day. Using verbatim text, they create a narrative that looks at both the serious – and far less serious – decisions that can change what will happen next.
A heartfelt, gutsy and justifiably packed performance.
Much was made in this show not only of the iconic nature of the music of Amy Winehouse, but also of the public’s parallel fascination with her personal life. To do a show combining the two was therefore not without risk, but the balance was beautifully and sensitively struck – the singing was simply superb, and coverage of Amy’s own inner struggles was handled with genuine respect and empathy.
There was something special about this performance – an all-embracing energy that affects and stays with you.
From the beginning of the show and throughout, there is an enigmatic yet ethereal dimension to both the songs and the singing – haunting yet hypnotic. You keep pondering the performance long after you’ve left, and the music leaves you indelibly changed.
There is something very wrong out there in the darkness.
Through waves of subsonic sound hazmat suited figures emerge, their sickly green headtorches sweeping the auditorium in slow, searching arcs accompanied by a mix of insectoid chittering and Geiger counter tick.
Flo snaps into the present, disorientated and breathing hard as the nightmare visions are replaced by the only slightly less terrible reality. Wearing scrubs, she is treating patients in a camp for displaced persons amidst the buzz of flies and scenes of organised chaos.
Mercury Theatre is an Oxford based, student run Theatre Company. In their most recent venture, they have decided to tackle male mental health with Numbers. All starts well, the first scene focuses on Jack as he lists what he is proud of. He is speaking to empty chairs set up like a support group. This is the one and only time numbers are truly referenced in the play, as Jack counts how many beers he can down and how many bites it takes for him to swallow a Big Mac.