Theatre review: The Here and This and Now

Paired up with The War Has Not Yet Started in Theatre Royal Plymouth's rep season at Southwark Playhouse, Glenn Waldron's The Here and This and Now takes a look at pharmaceutical companies on an intimate scale and, eventually, a global one. Niall (Simon Darwen) leads a team of pharmaceutical reps on a team-building away-day. Alongside games where they recite their sales mantra of "Captivate! Associate! Detonate! Kill!" the central point is for them all to rehearse Niall's trademark pitch to receptionists, a cheesy story about his sick son designed to create empathy and get them five minutes with a senior consultant to sell discount liver-spot cream. Gemma (Tala Gouveia) is new to the team and enthusiastically delivers her own version of the pitch, but the other two members have been working for the company much longer and have a much more cynical outlook on what they're doing.

Theatre review: Much Ado About Nothing (The Faction / Selfridges reFASHIONed Theatre)

Alongside the theatres that have been marking the 4th centenary of Shakespeare's death, there's been various other tributes from the obvious, like commemorative coins, to the less likely, like Selfridges (they sell fridges) theming their window displays around quotes from the plays. Taking the idea full-circle, the department store has also decided to actually stage one of them on-site, in a pop-up venue in the Oxford Street shop's basement. They're calling it the reFASHIONed Theatre, and handing out glossy programme/brochures PRINTED SINGLE-SIDED ON THICK PAPER HOW MANY TREES HAD TO DIE that remind us of the many high-fashion brands you can buy in-store (they also sell fridges) so the fact that this is largely a marketing stunt would normally have kept me away.

Theatre review: Blue Stockings

An accomplished director, Jessica Swale's clearly been learning a thing or two in the rehearsal room about what makes plays tick, because her debut as a playwright is an assured one. Having worked at Shakespeare's Globe before, this becomes the venue for the premiere of Blue Stockings, and having championed the work of trailblazing women in her choice of plays to direct, she finds another group of them in Cambridge at the end of the 19th century. For a few decades, women had been allowed to study there at colleges like Girton, but any achievements they made had to go unrecognised: At the time we join the bluestockings (Swale takes her play's title from the sneery nicknmae given to female students) they are trying to secure a historic vote that would allow them to graduate.