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Jo Tomalin

Mechanimal’s Wild Thing! at the Edinburgh Fringe 2025

By Jo Tomalin

Review by Jo Tomalin
For All Events

Wild Thing!

Imagine a show where all the characters were performed by one person. Tom Bailey of Mechanimal, the award-winning theatre company creates and recreates dozens of extinct animals using only his physicality, with wonderful atmospheric sounds by sound artist Xavier Velastin.

Bailey is a performer and an observer of life with a vibrant imagination and a strong interest in how fast the planet is losing species. We should all be aware of this tragedy but sometimes we need reminding. Bailey has created a follow up to the outstanding Vigil about extinct animals presented a few years ago at the Edinburgh Fringe. Wild Thing! not only demonstrates a minute percentage of the thousands of animals (literally from Bailey’s physical acting) that are extinct today but he also provides some of their names by a voiceover announcement, together with the printed name projected onto a huge wall size screen on the stage.

At the top of the show we hear the name “White Footed Sportive Lemur” and Bailey takes on the physicality as much as possible of this creature, then others come fast, “Three Toed Sloth” “Persian Musk Deer” and “Arrogant Shrew”. The pace is fast, and some animals have sounds created by Bailey, too. Seeing him move around and take over the space is fascinating and unusual, so we know we are in for an unexpected time!

In Vigil by Mechanimal Bailey’s portrayals were pure and, seemingly to the audience, exacting. However, in Wild Thing! It is clear that the most challenging or literal sounding animal names are sometimes more obvious in gesture with an interesting layer of Bailey’s own attitude, which is very entertaining. Relating to the audience as either animal or during transitions Bailey says a lot with his physicality. Wearing a striped shirt, sage green shorts and a baseball cap on backwards Bailey throws himself into his physical gestures mimicking animals to the best of his knowledge at the time.

The space is perfect for this show because the large stage area is ground level and Bailey can intermingle as needed without barrier and everyone in the audience on three sides of the rectangular space can see him and the screen easily. We all want to see what he’s up to and we have a great view of it all!

Although we are having fun and enjoying this intriguing interactive show, Bailey introduces his message gently at first then powerfully by sharing information about the state of the lost species and how more are lost. With the addition of some very well chosen props and a story about an important journey, Bailey is certainly impactful in his forty five minute show. This is how to make a difference to people of all ages. Theatre is a powerful tool and this is an excellent example of its use to enlighten as well as to entertain. Do not miss Wild Thing! Highly Recommended! 4 Stars

Lost Lear at Edinburgh Fringe 2025

By Jo Tomalin

Review by Jo Tomalin
For All Events

Lost Lear

Lost Lear is a weaving of the story of parts of Shakespeare’s play King Lear with the story of Joy, diagnosed with dementia. Written and directed by Dan Colley, this is the UK Premiere produced by the Riverbank Arts Centre and Mermaid Arts Centre presented at the Edinburgh Festival Fringe 2025 at the Traverse Theatre. 
For anyone unfamiliar with the story of King Lear by Shakespeare, there is a canny summary provided in the dialogue to another character early in the play! This is an intricate mixing of two stories with relatable parallel events.

We watch a stage rehearsal of the play of Lear and his three daughters trying to show their authentic love for their father in order to earn the trust, respect and his legacy when he dies. It’s always an interesting part of the play where the audience may reflect on their own way they may answer this question of an elderly close relative. This start to Lost Lear is fascinating! When the story is turned on its head and Lear is enthusiastically played by a character called Joy, the mother of a long estranged son in a layering of a contemporary parallel family story with the rehearsals of King Lear!

In a poignant twist Joy is in a care home – and the staff discovers the most effective way of relating to her is to run her day to day similar to her prior career as an actor, full steam ahead in rehearsals. While Joy has no daughters she does have a son who is on stage in several scenes.

The acting is strong throughout including:
Joy: Venetia Bowe
Liam: Manus Halligan
Conor: Peter Daly(August 3rd)/Gus McDonagh
Ensemble: Em Ormonde, Clodagh O’Farrell

Bowe as Joy is energetic and dynamic and her voice will surely benefit from the run to develop a range of inflections and vocal variety in the lines. This play within a play is effectively told through storytellng, narration, dialogue and one brief scene with puppetry. Effective set design by Andrew Clancy, lighting design by Suzie Cummins and costume design by Cherie White all work together to create the two worlds in this play.

Lost Lear deals with the situation of a family member with dementia sensitively and in a creative way in this handsome production. Highly recommended! 4 Stars!

Consumed at Edinburgh Fringe 2025

By Jo Tomalin

Review by Jo Tomalin
For All Events

Consumed

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Consumed by Karis Kelly and directed by Katie Posner is a World Premiere, produced by Paines Plough, Belgrade Theatre, Sheffield Theatres and Women’s Prize for Playwriting Production in Association with Lyric Theatre Belfast, presented at the TraverseTheatre, Edinburgh Festival Fringe 2025.

This multi- generational play explores themes of transgenerational trauma, national boundaries and family dynamics set in Northern Ireland. 

Our introduction to this story is an attractive and cosy set of a well kept large kitchen with a table and several chairs. We learn that this is Gilly’s home – and her mother, Eileen, the family matriarch, sits at the head of the table. Gilly is busy fussing around so that everything looks just right as their guests are about to arrive for a birthday celebration. 

Gilly’s daughter, Jenny left Northern Ireland years ago and she and her daughter Muireann, live in England and are traveling to visit and celebrate their family. The long distance between them means that family visits like these are rare, so this is a special occasion and an opportunity to reconnect.

The initial chitchat between Eileen and Gilly is jaunty with Eileen’s comments dominating and Gilly placating her elderly mother by getting on with preparations. Gilly’s house has everything in to place, for the moment. When the two younger women arrive friendly conversation is punctuated by Eileen’s remarks. Jenny and her daughter seem like they are from another place in life and culture – and they literally are!

All four characters are different and well acted with texture and believability. There is much pride about their shared roots, particularly from Eileen played by Julia Dearden and Gilly played by Andrea Irving – but less sowith Jenny played by Caoimhe Farren, who left years ago and her daughter Muireann played by Muireann Ní Fhaogáin,

who doesn’t even have a hint of a northern Irish accent. Additional progressive ideas such as veganism demonstrate a huge chasm between the two groups and yet Eileen comes into her own with sound advice.



Lest we start wondering where male partners may be, bits of information come out in conversation and we get a picture of a family with a strong foundation that have secrets and foibles that sear to the soul. This is anentertaining and provocative slice of life family drama with a wry unexpected twist! Highly recommended! 4 Stars!!

More Information
https://www.traverse.co.uk/whats-on/event/consumed-festival-25

The Dan Daw Show at Edinburgh International Festival

By Jo Tomalin

Review by Jo Tomalin
For All Events

The Dan Daw Show

 

The large marquee on stage with the title The Dan Daw Show in large letters across it is a dramatic visual. Dan Daw enters and  talks to us for the first few minutes to tell us what we are about to see and why. There are some disclaimers from him and a clear admission that he is in full approval at what we are about to see and that this is how he wants to be seen. Daw introduces himself as “a 41 year old crip” and that we are in safe hands! Dan’s wry humour is apparent from the start and continues with quips and questions for us in between the physical sequences! Presented by the Edinburgh International Festival in August 2025 at The Lyceum Theatre, The Dan Show is performed by collaborators Dan Daw and Christopher Owen, and directed by Mark Maughan.

Daw and Owen talk back and forth as they perform together, make suggestions about physical movements and challenges that go deep into the core. Daw is very interested in kink and both of them work through kink experiences as they perform them on each other. Daw listed some of the kink we would see in the opening speech and after some physical stretches and general limbering up together Owen directs Daw in a quiet but assertive voice and Daw follows. They quickly set up ground rules and we are away. They are tactile with each other, playful and serious at the same time. Tattoos, torsos and body language mix together as they roll across the stage in one section – they could be brothers! Daw says that Owen is his best friend and he trusts him completely, which is very meaningful and important. Daw is realistic and prefers to focus on what he can do rather than what he can’t do and shares he how enjoys the pleasure he gets from kink experiences. In an experiment Daw is is a box with only his head showing while Owen depletes the air and Daw’s limbs and muscles are tight against the black material until Daw winces and Owen allows the air to enter the box and release Daw’s body. Throughout the show they engage in contorting around each other, thrashing, spit balls, and movement akin to wrestling. There are wonderful tender moments – after jostling around – when they cradle each other in quiet moments. It’s fascinating, sexy, on the edge, yet they are respectful of each other and while Daw’s limits are challenged, Daw is in charge of his own body and they break free on uttering a safe word or short phrase.

This is an intriguing and moving show that explores the body, sexuality, identity and trust. Highly Recommended!
 4 Stars!

Make it Happen

By Jo Tomalin

Review by Jo Tomalin
For All Events

Make it Happen

The Edinburgh International Festival presents the World Premiere of Make It Happen written by James Graham and directed by Andrew Panton produced by National Theatre of Scotland and Dundee Rep Theatre in August 2025.

Graham is an award-winning playwright and screenwriter for notable productions of Dear England, Best of Enemies and Ink. Panton, artistic director of Dundee Rep Theatre and award winning director of plays such as Out of the Woods and A History of Paper. It is no wonder that Make It Happen is an important and anticipated production at this year’s Edinburgh International Festival.

The play is about the Royal Bank of Scotland’s fall and what – and who – brought this about. The venerable bank, RBS follows Fred Goodwin, played by Sandy Grierson as he commits to the financial strategies created by revered economist, Adam Smith played by Brian Cox. Rather Cox plays a ghost of Smith who goads Goodwin, known by some as as Fred the Shred.

Starting with a group pf tourists looking at large paintings in a gothic looking scene an ensemble of of about 12 are taken around the gallery. Suddenly as if in a Greek Theatre theme, masks and coats descend dramatically. A narrator and voice overs lead us away into Goodwin’s life, his arrogant rise and ultimate fall as an accountant.

The script and information about the RBS is on point. They’re aware of European banks and how they’re doing and Fred has huge ambitions that grow by the minute. An ensemble, like a Greek chorus, comes in between scenes and some times speak or play characters and comment on events or move the story forward, often with bursts of song!

There are several brief scenes in this two hour thirty minute play which moves the detailed story along well. These brief flashes of scenes include board members with a fast appearing set piece of columns, conservatives politicians and the general mood that if Goodwin wants adventure, he’ll have to make it happen himselfl

Prophetically, Goodwin’s character is realistic in his dialogue with colleagues and family and when he reads out Smith’s views on commerce. Others try to warn him, but Goodwin recommends growth and wants to buy NatWest.

Music by Martin Lowe accompanies with underscore at times, and with loud with snappy beats in the numerous chorus appearances trailing on stage or dancing in between. When Goodwin is with a Scottish bank and wants RBS, he takes over banks, bidding successfully to vibrant music! The music is catchy and biting, and adds to the drama – and the tension. Suddenly, Goodwin becomes an admired chief executive.

A conversation with a colleague brings humanity to the story, who bigs him up, imagining how Fred’s dad would be proud. The ensemble’s comments after this scene are very entertaining! Politician Gordon Brown appears at the Scottish. Parliament, urging balance, to no avail. An ingenious set panel is opened to show a brief scene as if in an Amsterdam like shop window with pink lights – very creative use of this variable square set piece a few more times credited to set designer Anna Fleischie.

Cox has attitude and sarcasm as this ghost of Adam Smith and is enjoying it all. Lively conversations with Smith and Goodwin are delicious when they get down to brass tacks and even riff a bit in a glorious moment! Grierson’s Goodwin creates the character with depth and portrays the emotional range very well throughout. There are fantasy moments between Cox and Fred that are charming as they reflect on the city.

The ensemble has the last work, or hiss! An appropriate act to end this story. In all this is a creative well performed vital play with high production values. It is not only very entertaining but also informative and a reminder of what can happen when ambition is strong. Highly Recommended!

Provocative Emotive show – N.Ormes with Agathe and Adrien

By Jo Tomalin


Photo: SFIAF

N.Ormes with Agathe and Adrien is presented in San Francisco May 8 and 10 at the 2025 San Francisco International Arts Festival (SFIAF). Canada’s duo Agathe Bisserier and Adrien Malette-Chénier created and perform N.Ormes, which is an intriguing expression and investigation into gender norms.  They blend their physical expertise integrating circus acrobatic balance skills seamlessly into elements of dance, theatre, and performance art.

While we may imagine traditional hand /balance skills punctuated by a broad flourish after each daring balance of the female partner on the shoulders of the male partner, Agathe and Adrien turn this idea upside down completely! Their visual and physical storytelling has no words and relies only on the physical aspect of strength plus subtle looks or gestures to each other or the audience that speak volumes. Their approach to their creation and performance is to apply the physical skills learned from their professional training at the Circus School of Quebec to develop their unique form of storytelling.

Agathe and Adrien perform variation upon variation of balances with hands, head and limbs and movement around the space as they build their imaginative story, which develops based on a relationship. They have joyous moments as well as disagreements – the addition of theatricality is relatable and draws the audience in effectively. What follows is no less than a continuous flow of action with cleverly coordinated jumps, rolls, runs, balances on head and limbs accompanied by fascinating music by Simon Leoza.

The athletic strength of Agathe and Adrien is immense and the basis of this story. While the pairing of both Agathe and Adrien during the physical moves is traditional at first, Agathe sees that she is as strong as Adrien and the only difference is their height. The acrobatic dance in this piece is original and visceral, it follows a relationship and also makes a statement. Agathe is determined and soon she finds the fairness and equity she sought. Her response is outstanding!

Costumes by Sophie El-Assad are white, straw and black, and look like everyday clothes, which is a smart choice and sets the tone for the physical storytelling that develops organically and becomes significant in the latter half of the show.

Lighting by Claire Seyller adds atmosphere and pin like focus on the movement, expert balances, creative lifts and interesting shapes Agathe and Adrien form on and around each other. The build of the show is dynamic as it develops brilliantly although the last ten minutes might benefit from streamlining.

This is a must see show if you are interested in movement and acrobatics with theatrical and unexpected action in creative unique exploration of gender norms – Provocative and emotive!

More Information:

Date(s) & Time(s): Thu May 8, 8:30pm; Sat May 10, 8:00pm
Duration: 60 minutes 
Venue: Dance Mission Theater
Location: 3316 24th St, SF, CA 94110,

Ticket Information

Early Bird: $20, Advance: $25, Door: $28
For the best deals, see multiple shows with a discount Festival Pass.

TICKETS FESTIVAL PASS

Agathe & Adrien Website:
https://www.agathe-adrien.com/

SFIAF
https://www.sfiaf.org/

MEMBER is Poignant Riveting and Vital Theatre – at SFIAF

By Jo Tomalin

Memory

Fairly Lucid Productions from Australia and the UK present MEMBER, a U.S. Premiere one person play written and performed by Ben Noble, directed by David Wood, with music composed and performed by Stephen Choi running at the 2025 San Francisco International Arts Festival (SFIAF) May 8-11, 2025.

MEMBER is a creatively complex and searingly moving tale of a father and son, embroiled in homophobia and the brutality of a gang targeting gay men. In Sydney, Australia hate crimes against gay men were rife during the 1970s through to the 1990s and Noble’s seventy minute play delves into such deep hatred and prejudice, with his own courageous crafting, a will to push boundaries and his expert storytelling.

Sitting in a chair onstage Noble gently starts the story. He is an imposing presence, wearing a red and black shirt and jeans, he retells what’s happening and what led up to his son’s daunting situation. The setting is ominous, a hospital waiting room, that is created so effectively and minimally by a blue curtain centre stage, with heartbeat pulsating sound effects and live music played onstage by musician Stephen Choi in blue scrubs.

Noble, as the personable father recounts memories of his relationship with his son. We meet several characters and hear about their jobs or quirks as the stories are woven in MEMBER seamlessly by Noble. Thirteen characters take focus and appear, sometimes once only but some come back again through the story. Noble’s character, the father is a supervisor who takes his job seriously, exemplified when he apprehends Ernie with salty language. There’s Butterworth who likes cookies and Bob who talks to Ernie about going gay clubbing…

Noble is adept at switching characters with his voice, posture, facial expressions and gestures integrating humor and equal amounts of drama and pathos.

In a tender scene at his son’s birth – Noble’s performance is poignant and riveting going from banal to emotive in twenty seconds! Throughout the play there are several lump in the throat moments as well as brashness and anger – a notable contrast is Noble’s scenes as the father with his wife Cheryl. These scenes and dialogue draw on her husband’s gentle demeanor and a warm relationship, which adds depth to this story in between the homophobic brutality and the young son’s salubrious invitation to ride in a car up the hill with a stranger.

Light changes create new shape to the stage, together with location and mood effectively and the live music adds texture to the setting, although the first riffs would benefit from a lower volume.

MEMBER is supported by an impressive group of creative artists including both Ben Noble, a queer disabled actor, writer, creative producer and teacher & Sarah Ranken who run independent theatre company Fairly Lucid Productions in Melbourne, Australia; David Wood, director, facilitator and theatre-maker; Ro Bright, a kiwi writer based in Australia; Meg Courtney, Script Assessor; Björn Deigner a German writer, director and composer for theatre; Dan Giovannoni, playwright; Elise Esther Hearst, a Melbourne-based playwright and author; and playwright Finegan Kruckeymeyer.

Highly Recommended!

More information and Tickets:

MEMBER

Date(s) & Time(s): Thu May 8 – Fri May 9, 7:00pm, Sat May 10, 6:30pm, Sun May 11, 2:30pm
Duration: 70 minutes (No Intermission)
Venue: The Marsh Studio
Venue: 1062 Valencia St, SF, CA 94110

The SFIAF runs from April 30 to May 11, 2025 and presents 50 companies and 100 concerts and shows in this year’s festival, including theatre, music, spoken word, dance and much more!

Granica / The Border – Intriguing + Powerful Theatre from Poland at SFIAF

By Jo Tomalin

We are greeted by Monica inside the theatre, she holds a tray of sparkly stemmed glasses and offers us one. Is this a party? A celebration? Her silken red slip of a cocktail dress evokes an air of elegance and quiet expectation.

Now a film of a soldier in army gear speaks to us in Ukrainian (with english super titles translating the dialogue) as it is projected on the huge back wall of the stage. This is Antonina Romanova.

Monica is now active around the space. She is occupied and we are not sure what she is doing – but she is on a mission.

This is the intriguing start to Granica / The Border, a 2024 U.S. Premiere from Poland’s Wachowicz / Fret Studio produced by the annual San Francisco International Arts Festival 2025.

The Border is a true story about Antonina Romanova, a transgendered Ukrainian performance artist. From the dialogue of Antonina on film we discover that Antonina uses the pronoun She. Sadly she had to flee to Kyiv because she was not welcomed by people in the other places she lived, but was drafted into the Ukrainian Armed Forces to fight the invading Russian army in 2023.

The Border is performed by Monika Wachowicz who has worked with the Grotowski Institute since 2021 and is directed by Jaroslav Fret, the founder and leader of Teatr ZAR, a theatre director as well as the Director of the Grotowski Institute, the renowned art institution in Wroclaw, Poland. Although an actress and playwright, Antonina Romanova chose the army as a way of life in these war torn times.

Antonina tells us about life at the front where the inhabitants have vanished – but a curiously vivid moment describing all the dogs left behind is so compelling and draws us in immediately. The brief anecdotes of these dogs seeking warmth and humanity and Antonina’s personal story of underplayed bravery and great humility takes us to a place of empathy among the challenges and inner turmoil of war.

There is more to come when Antonina’s filmed narration finishes. Monica becomes another character as she shows moments of Antonina’s life so far, expressed through gestures, symbolistic physical actions, minimal words and with well chosen objects. This allegorical piece is poignantly impactful as we are guided through an experience of expressionistic reality, quiet brutality and fragile beauty. Unexpected, meaningful and original theatre theatre based on Antonina’s story from an idea by Monika Wachowicz. Recommended!

More information and Tickets:

Granica / The Border

Date(s) & Time(s): Thu May 1; 7:00pm, Sat May 3, 6:30pm 
Duration: 60 mins w/out intermission
Venue: Theatre of Yugen’s NOH Space,
Location: 2840 Mariposa St, SF, CA 94110

The SFIAF runs from April 30 to May 11, 2025 and presents 50 companies and 100 concerts and shows in this year’s festival, including theatre, music, spoken word, dance and much more!

San Francisco International Arts Festival runs April 30 to May 11 2025!!!

By Jo Tomalin

Are you looking for something exciting to do in San Francisco this week or next? Then check this out!

The annual San Francisco International Arts Festival (SFIAF) opens today and runs from April 30 – May 11, 2025. In this 12 day time span SFIAF presents 50 companies performing 100 concerts and shows across several performance genres: Dance & Cirque, Music, Performance Art, Spoken Word, Theatre and Visual Arts – all scheduled in San Francisco venues, mainly in the Mission. This is a true arts festival which also includes several lectures, performance workshops and even a series of fascinating walking tours led by San Francisco based Precita Eyes Mural Tours, focusing on different areas of San Francisco’s Mission.

Local, national and international performers present their works in a mainly 60 to 70 minute show format, so it’s possible to see more than one show an evening and several shows on weekends! All concerts and performances offer a wide and deep range of original,creative, imaginative and inspirational performing arts entertainment to enjoy – and the prices of tickets range from free to about $28.

If you are a theatre or music fan there are several international productions at this year’s festival that are very powerful in their own way and all are making their US debuts. While their themes and stories vary, these different productions combine issues of politics / policy /, human / civil rights, current affairs, equity and identity, offering different perspectives from distinct parts of the world. Andrew Wood, Executive Director of the San Francisco International Arts Festival travels far and wide to find interesting and talented performing artists to create this festival every year – and it’s certainly an exciting, entertaining and meaningful event in San Francisco’s cultural calendar – not to be missed!

Agathe et Adrien, an international award-winning circus duo from Montreal, Canada, perform their compelling visual physical strength and balance act in N.Ormes that transforms their circus skills into art telling a unique story.

In the Name of the Son by Green Shoot Productions from Northern Ireland is a solo play starring Shaun Blaney that chronicles the extraordinary life of Gerry Conlon (of the Guildford Four) following his release from prison in 1989.

From Poland, Granica / The Border is presented by Wachowicz / Fret Studio and takes as its focus the true story of transgendered Ukrainian performance artist, Antonina Romanova – a member of the Polish theatre ensemble, Teatr ZAR.

From Australia and the UK, Fairly Lucid Productions, MEMBER is an award winning, gripping tale of brutality and brokenness, MEMBER explores Sydney’s gay hate crimes (1970s–1990s). Written and performed by Ben Noble, it follows Corey, a father confronting his own homophobia. Accompanied by Simone Seales on cello.

Musician Duane Forrest from Canada performs Bob Marley: How Reggae Changed the World through an acoustic journey celebrating Bob Marley’s life and the roots of reggae. This interactive show invites audiences to reflect on the life of Marley, sing along and connect through the power of music.

More information is available on the SFIAF website about all the shows, concerts, getting tickets and the calendar: https://www.sfiaf.org/

See you there!

La Manékine by La Pendue at MimeLondon 2025

By Jo Tomalin

La Manékine by La Pendue at MimeLondon 2025

Review by Jo Tomalin for FORALLEVENTS.com

La Manékine by La Pendue, a theatre company from France performed January 14 to 18, 2025 presented by MimeLondon at the Pit theatre, Barbican, London, UK. MimeLondon 2025, their debut year,  is produced by Helen and Joseph, the long time creators and artistic directors of The London International Mime Festival, which completed its run in 2023. The new MimeLondon is stated on the website to be: an occasional series of curated international physical and visual theatre.

La Manékine is an intriguing story adapted from a dark Brothers Grimm tale The Girl Without Hands about deception and love created and directed by La Pendue’s Estelle Charlier and Romuald Collinet.

Performed by Charlier and Martin Kaspar Orkestar in French with English surtitles the sixty five minute show is about a poor miller, his daughter and the devil. Charlier is front and centre as the storyteller and puppeteer. Her fluid movement that is clownish at times and the choice of speaking with a gruff voice is an effective mix of physical and character storytelling with puppetry.

Oh yes, and there’s a one person orchestra with musician Orkestar who plays up to three instruments at the same time! Music underscores this performance beautifully and adds visceral atmosphere from Orkestar. At times he leaves his musical base and becomes another character interplaying with Charlier, who is a a compelling storyteller puppeteer who has fun playing the weird characters and so do we watching them. She works a range of puppets and masks from small creatures to large on an inventive stage that transforms into forests, hiding places, and more with minimal props.

Charlier relates to the audience with eye wink complicity because she is in the know about what will happen as she joyously guides us through the fun journey of this tale. Projections add visual depth to the story and what seems at first like a simple idea unfolds into a gloriously charming performance experience.  Story adaptation and texts are by Romaric Sangars. We often say that theatre is an escape from the everyday into another world and La Manékine is exactly that. La Pendue together with performers Charlier and Orkestar have created an imaginative performance with surprises that will resonate afterwards. Highly Recommended!

More information:

MimeLondon
https://mimelondon.com

La Pendue Theatre Company
https://www.lapendue.fr/language/en/actualities/