Lyn Gardner

There is a power in naming. In Salem during its 17th century witch trials the accused were urged to name others who were also witches. In times of fear naming can be a kind of contagion.

I loved Pappyshow’s Boys at the New Diorama last year, a disarmingly charming and heart-felt physical theatre piece created by a group of young men exploring their individual identities and what it means to be a man.

I once read an article suggesting that only a few questions were required to discover if a couple were compatible.

Holly Robinson’s play is a debut and it is always thrilling to hear a distinctive new voice and see a first play of such startling assurance.

There are lots of smart shows at the Vault Festival but the conditions seldom lend themselves to work which is also slick. But Saturday night’s viewings brought forward two very neatly put together shows that both know exactly what they are doing and are both smart and slick.

You all know the Bechdel test, don’t you? It’s a measure of the representation of woman in plays, movies and novels that asks whether the work features two women talking to each other about something other than a man. But do you know about the sexy lamp test?

“Piece out our imperfections with your thoughts,” says the Chorus at the start of Henry V, adding, “Think when we talk of horses, that you see them/ Printing their proud hoofs i' the receiving earth.

Most protest takes the form of theatre, a spectacle that disrupts the status quo. Inspired by their personal experiences of manning the barricades in Kiev's 2014 uprising, Mark and Marichka Marczyk's folk opera harnesses that idea.

When 15-year-old Cork resident, Naoise, wins the Under -16s European kick boxing championships her future seems assured.

To be honest I'm not a great one for horror. The last horror film I saw was the Shining and that finished me off. Comedy? I last had a really good laugh in about 2002.

When the boy was a child his father used to tell him stories of the Apollo moon landings and how the stars were in reach for all of us. The boy wanted to grow up to be an astronaut but now he is a man—nameless and just a statistic like so many of the homeless.

Rema (Raagni Sharma) and her mother Mariam (Yasmin Wilde) are preparing for Ramadan. Mariam says that the words of the Koran are like music but for Rema they stick like tar in her mouth. She is writing her own words to express how she feels and who she is.

Christopher Adams and Timothy Allsop are a couple in real-life. They say that they don’t work together because Orton and Halliwell were not the best role models. But in Open they are not just appearing together on stage they are excavating their own life as a couple.

The “teenage temptress” was a stock character of 20th century novels and movies. Her influence extended to the courts with lawyers arguing in rape trials that she led the defendant on because of her voluptuous figure and the way she dressed.

Day 2 of VAULT festival

The VAULT Festival is effectively Edinburgh in London with about the same level of dampness and similar spiralling levels of excitement. It makes theatre an event. It makes it fun.

"There is no place like home," says Dorothy in the Wizard of Oz. But for the young men coming back from war in The Unreturning (Stratford East), home turns out to be less welcoming than they remember.

A woman dressed like Princess Diana on her wedding day sits at a table covered in a Union Jack and eats.

Ishy Din's latest play is set in a Northern mini-cab office in the wake of Margaret Thatcher's death.

The 20th century musical is one of the most under-rated art forms, as if its commercial successes and the fact that audiences love it inevitably means that it's artistic creditability is sapped.

I've always thought it was odd that The Pleasance is such a major player in Edinburgh every fringe, but that its London venue never feels like a significant pin on the theatrical map.

We all know the story of Orson Welles' 1938 radio broadcast of The War of the Worlds which, with its convincing simulated news bulletins, spread mass panic across the US leaving millions believing that America was being invaded by aliens. Right? Actually, no.

Here's the final part of my pre-festival guide, featuring the VAULT Festival shows that have caught my eye from weeks 6, 7 & 8.

I felt slightly doubtful about seeing five Pinter plays—albeit some of them short—in a single day. I reckon that a little Pinter often goes a long way.

History and experience tell us that the world shifts on its axis. Regimes crumble, industries disappear, jobs are lost, people die, power is lost or gained, and the regular monthly pay-check suddenly stops coming. The warning signs may be there but we refuse to heed them.

Continuing from last week’s article, here’s my guide to VAULT Festival from weeks 2 to 5. This is a mix of shows I've seen before and enjoyed – and new shows that have caught my eye.

VAULT Festival begins later this month, and I’m going to be trying to cover as much as I can of the eight-week festival which gives a London platform (albeit a subterranean one) to both emerging and established artists from the UK and abroad.

If you were to ask me about the great theatre companies of the last 30 years, I’d say that one of the very greatest has been Oily Cart.

“The past is a foreign country: they do things differently there,” begins LP Hartley’s 1953 novel, The Go Between. But as Hartley’s anti-hero discovers we carry the past with us. There is no escaping it.

That Anthony Neilson is a sly one. Smart too. His latest piece, the Tell-Tale Heart at the National Theatre’s Dorfman space, takes Edgar Allan Poe’s creepy 1843 story of madness and murder and gives it a contemporary spin.

London is bursting to the brim with theatre from the West End to the NT on the South Bank to the boutique venues such as the Donmar to the Almeida.

In Natasha Gordon’s Nine Night at Trafalgar Studios, Gloria is dead. She came to England on the Windrush, leaving behind her first-born daughter Trudy in Jamaica. Now her clan is gathering for nine days of mourning at her home.

1. Like Emma Rice’s Wise Children, Little Bulb’s show within a show is a celebration of theatre itself in all its gaudy down-at-heel red velvet glory and tawdry illusions.

I came late to The Inheritance at the Duke of York’s, only catching up with it on World Aids Day.

Ellie Kendrick’s Hole at the Royal Court Upstairs operates like an all- female cosmic cabaret, and one whose rocket fuel is rage.

In Sondheim’s Into the Woods, Red Riding Hood tells the Baker that her mother has warned her never to stray from the path. To which he quite rightly points out that it’s already too late because “the path has strayed from you.”

“Nothing I have said is factual except the bits that sound like fiction,” declared Clive James in his Unreliable Memoirs.

We can tell from the fact that 4.5 million children live below the breadline, up by a million in less than a decade.

History is too serious to be left to the historians. Particularly personal histories. But it is these individual stories, the ones that never make it to the history books, which shed the greatest light. Yet so often they remain hidden from view.

The National has always had better luck with musicals the more off-beat they have been.

The value of a theatre lies not just in the work it does for itself — effectively, the shows that the team have a yen to produce — but in what it does for everybody else.

The Doomsday Clock stands at two minutes to midnight. Scientists have warned that we have 12 years to avert climate change disaster. But still we sleepwalk towards catastrophe, taking no responsibility. We assume, like children, that the grown-ups—the scientists and the policy-makers—will save us.

In Beckett’s Waiting for Godot, Estragon and Vladimir talk about “all the dead voices” which they hear. The dead, they say, make a noise like wings, like leaves, like sand.

How often do you see a pregnant woman on stage?

As Rufus Norris has discovered at the National Theatre, taking over as Artistic Director from a regime that has been seen as a huge success is not always a bowl of cherries. Mostly what audiences and critics want is more of the same.

"One of the beauties of Icke’s production is its ability to continually deceive and then flaunt the truth in front of us"

Nobody would dispute that it is an honour to be the theatre culture that produced the playwright who many agree is the greatest that the world has ever seen. But it can also be a bit of a burden.

Some claim that theatre criticism is in crisis but I reckon it is simply changing in response to the disruptions of recent years.