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This sweet yet gritty insight into brave young love set in South London was performed beautifully by a well-chosen cast. Mouthy neighbour Leah was played to a Tee by Janna Fox; the philosophical musings of artist Tony by Leigh Ward were spot on, as was hardworking Sandra’s brassiness from Tess Gill; and the two boys blossoming pure love portrayed by Jonah York and Adam Newington was impressive. Add a beautifully detailed and designed set with battered council flat doors and fake flowers, a sharp script and a tale of realism told with compassion and wit, and this endearing urban fairytale was just that, a beautiful thing. Brilliant.
Brighton Little Theatre, 16 May
4/5
Monica Perdoni

There were only a handful of people in the cold cavernous Freerange tent. Chris Cresswell wandered on stage in a black coat and white face make-up. He did clowning and mime to the sound of train announcements. Then, turning to the audience and speaking for the first time, he gave up on the show, blaming problems with the sound. He got the entire audience to march onstage. Actors planted in the audience led improv games. Chris started several congas to the song ‘Love Train’. What? Was this a brilliantly mind-warping audience-interaction piece breaking the fourth wall? Or a show about a clown that went awry? Was it a brave attempt to make the best of a gig with no atmosphere? Yes. Maybe. Dunno. Bah. I think my mind’s been warped.
freerange, 13 May
2/5
Jim Holland

As usual this night promised and delivered a dynamic cracker of sharp prose, witty diction and true love of the spoken beat. Northern lass and newbie to the night, Sally Jenkinson, finely kicked off poetic proceedings with acute observations on love, growing up, and social awkwardness. She was followed by the three-minute ruled slam where satirical ditties and poignant prose battled in competition to its eventual worthy winner, Ash French. Fresh talent, much-loved veterans (a la sacrificial poet Chris Parkinson) and classy sparkle in the shape of lovely compere Rosy Carrick: what more could any discerning wordsmith want?
Komedia, 13 May
5/5
Monica Perdoni

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