Theatre review: Total Immediate Collective Imminent Terrestrial Salvation

Two years before the performance in the Royal Court Upstairs, Miles' son fell through the ice on a lake and drowned. Miles tried to save him but failed, and although he survived he ended up in a coma. In the present day, he regains consciousness, waking from dreams of the end of the world which he believes are premonitions; others believe him too, and follow him to the cult he sets up in a remote part of Bolivia. Fifteen years from now, the solar eclipse that portends the apocalypse is finally due, and Miles' estranged wife Anna (Susan Vidler) has flown out in a last-ditch attempt to get their daughter Sol (Shyvonne Ahmmad) away from his clutches. As with most plays, Sol's words and actions are pre-determined by the playwright's script. But the playwright in question is Tim Crouch, an experimental theatre-maker who regularly plays with the idea of how stories are told and who's in control of them, so Sol the character actually has a copy of the script in her hand.

Theatre review: Adler & Gibb

Artworks and their perceived value tend to be viewed in the light of the artist's life and personality. A certain brand of "method" acting on the other hand claims to put the real personality by the wayside entirely, immersing the actor in their character. Both ideas are present, bringing with them a kind of artistic temperament that edges into the unhinged, in Tim Crouch's Adler & Gibb. In 2004, a year after the mysterious death of modern artist Janet Adler, a student (Rachel Redford) attempts to secure a scholarship to art school with a lecture about Adler and her partner Margaret Gibb. She has a personal reason for her fascination with the pair, but it seems the interviewing panel don't share her enthusiasm.