G's Theatre Blog

© ELOINA Just after ELOINA's HIGH STEAKS, the other night, I had my first conversation about labia. Two days later, I had my second one. As far as proving the power of this show goes, I cannot think of a better way.  Believe me, it's not for a lack of trying. Last night, while videocalling one of my best friends in another country, I was trying to describe HIGH STEAKS to her. I was painfully aware of a strident clash between my factual recollection of the evening, and the way it made me feel. The factual recollection presented the following points: 1) The performer, ELOINA, came out with an accordion hung over her neck, covering the front of her body. The accordion made music as she moved. Pieces of steaks were hung from the ceiling in pairs with strings and pegs.  2) ELOINA then removed the accordion. When she put the instrument down, we saw strings taped to her belly, which were attached to another pair of steaks, peeking out from a bush of salad covering her vulva. She sat o

  © Close Enough To Touch I took a break from reviewing in 2023. The pressure of making fringe theatre, navigating a world in which funds and resources are low and expectations are high, got to me. I felt forced, as a creative, to be a show's everything - dramaturg, director, and producer in a professional capacity; but also, on a personal level, champion, nourishment, ontological reason, and more. When a sector is systemically undermined by the absence of economic and cultural investment, every opportunity is a "now or never"; every chance to be bold and creative for the sake of living an experience and learning from it, crashes with having to continuously justify the long-term value of your work's existence.  I feel bittersweet, this morning, as I think about this in light of the fresh news of VAULT Festival's closure. In the last 12 years, VAULT has been the London destination for innovative shows that might not find a direction or platform otherwise; personal