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The issue with most issue-based theatre is that it rapidly becomes – well – an issue. Thankfully, that wasn’t the case here: while the main hook might be that each short play of the night was either written or performed by someone with some form of disability, there was no preaching or moralising to the audience. Quite often, the disability was irrelevant, ‘just one of those things’ (occasionally, literally) and variously throughout the evening, this cast of (forgive us) very able actors were funny, witty, moving, silly, and occasionally damn sexy. No positive discrimination required: funny as a crutch – sharp as a tack.
Brighthelm Centre,  12 May
5/5
Andrew Allen

Cute name. Cute acts, too, although its was clear that Kitty herself was the undisputed star of the show, with curves, winks and attitude that owe at least a little to the likes of Dita Von Teese. Even so, she was given a run for her money by Lou Conran, pretty much one of the most confident and playful comperes we’ve seen recently, commanding a packed and raucous sell-out night with ease. If you like your burlesque with a bit of filthy banter, strong comics, and (quite literally) a sprinkling of glitter and sparkle, then these tassels are well worth the hassle.   
The Brunswick, 13 May
4/5
Andrew Allen

The Phillip Glass Ensemble’s second festival outing was a near sell out. The draw of the cult 1983 stronger than that of his amazing ‘Music In 12 Parts’. Or was it simply that at 90 minutes it was an easier option. Well, ‘Koyanisqaatsi’ is easier, but no less exciting or inspiring. Visually it is a treat, magnificent American landscapes slowly changing to scenes of urban decay and industrial waste. The message is clearly no different today than it was then. Hearing the score live was a treat too, but the audience was less gripped than for the previous work and as a consequence, more restless. All that said, this was a massively exciting event that had clearly seized the imagination of Brighton Festival goers. So am I saying Philip Glass Lite? No, not that but maybe Festival Audience Lite.
Concert Hall, Brighton Dome, 13 May
4/5
Andrew Kay

VaVoom is currently playing without its star, Lilotta VaVoom. The actress playing her suffered an accident and will not be returning until next week. Some judicious tweaking has largely papered over the cracks caused by Ms VaVoom’s absence and, although the story sometimes feels a little thin and scrappy without her, the enthusiastic and hardworking cast do a fine job in serving up a lively tale of theatrical life in New Orleans during WWII. The musical numbers are infectious and the choreography is slick. The acting isn’t bad either – which is not always the case with musical theatre.
The New Madeira Hotel, 13 May (until 23 May)
3/5
Gary Mepsted