by Danae Papadaki
Directors: Nathalie Berger, Leo David Hyde
Writers: Leo David Hyde, Nathalie Berger
Running time: 1 hour 50 mins
“If you can get people to work for free, why wouldn’t you?”
It’s the con that the majority of Millennials and members of Generation Z are firmly and infuriatingly acquainted with. Work that could and should be paid for is performed for no pay, on the basis the “experience” it provides them with will strengthen their CV and lead to gainful employment in the future. And of course, to add insult to injury, this is a mantra extolled almost exclusively by comfortable middle-aged, middle-class, white men, who were privileged enough to get their feet under the table having never been asked to lift a finger for free.
Even so, there seems to be little that those being exploited by this practice can do about it. Without permanent roles, they do not even have the severely weakened employment rights afforded to most workers – meaning, “if you rock the boat, you’re done.” So should we just grin and bear it?Continue Reading
by Ananya Wilson-Bhattacharya
If you’re passing through Brixton Market, exploring the vintage clothing stalls or lamenting the overpriced pints designed to rip off tourists, it’s easy to miss the Brixton Recreation Centre, tucked away and accessible only by a remote entrance. But this abandoned-looking building is in fact one of two homes of a fascinating local photography exhibition. The Lost Legacies of The British Black Panthers provides a vital insight into the anti-racist activism of the Windrush generation which is often overlooked in our understanding of twentieth-century British history.
By Ananya Wilson-Bhattacharya
I was eager to get my hands on a copy of Alison Winch’s debut poetry collection, Darling, It’s Me. With ‘fiercely feminist’ poems on the themes of motherhood and marriage, I was expecting rich, analysable material and I undoubtedly found it. Winch intersperses her narrative of contemporary women’s experiences with a series of extended metaphors rooted in Enlightenment philosophies and the European societies where these were developed, occasionally shifting form to witty sketches involving philosophers Thomas Hobbes and John Locke.
by Sunetra Senior
A tall hill of turquoise, gendered cooing and guffawing, chainmail crop tops, and dance-fights with mops, performed to the sound of nineties nostalgia: Lizzy Shakespeare and Michelle Madsen, together known as Bait Theatre, effectively wield experimental drama to tear through the fanciful tropes of traditional fairy-tale femininity.Continue Reading
by Joely Santa Cruz
In his new play titled The Ladder, Shȏn Dale Jones explores how our individual and collective choices are influenced through both the stories we choose to tell and the ones we decide to guard.
Nothing Fills a Hole Like a Double Decker: 31 years ago, the City Centre end of Earlham Road imploded after the ancient chalk mine beneath it collapsed in on itself, dragging a Number 26 bus into the hole that it created. Jones begins his performance by questioning the collective inaction and wilful ignorance that propels us into our own holes in the road.
by Carmina Masoliver
On a rainy Friday, people in-the-know gathered to listen to poetry in Ugly Duck for the launch of Sophie Fenella’s debut poetry collection The Rich Nothing. Ugly Duck is actually a series of different event spaces, with this particular one being located at 47/49 Tanner Street in Bermondsey. Inside this old Victorian tannery (where leather skins are processed), therein lies ‘The Garage’. On the ground floor, the space is described as having ‘a grungy urban warehouse feel’, and without much natural light at the back, it has an underground vibe in more than one sense of the word. With genuine caution signs for wet floors from leaks, it feels like an abandoned building that has been turned into an exhibition space – but in a cool way.
by Liv Barnett
Barbershop Chronicles is a ride which buzzes with energy from the first shaves to the final fades. It is written by Inua Ellams, UK-based poet, playwright and performer, and is an exhilarating play that identifies various aspects of black men’s experience through snippets of stories and interactions in barbershops that Ellams overheard as he travelled throughout Africa. Like hairdressers or taxi rides, barbershops can be intimate spaces for banter, storytelling and confession. With generosity and patience, this play does a good job of allowing audience members to step momentarily into the world of men’s chats. We become part of the warmth and banter between sensitive characters and appreciate the feelings and analyses that come with post-colonial politics, experiences of cultural change, complex family dynamics and making a living amongst love and friendship.