Evita Too, Soho Theatre 2022 'hilarious nearly to the point of medical concern' ★★★★★ Musical Theatre Review ★★★★ The Guardian ★★★★ Time Out ★★★★ The Stage Sh!t Theatre Drink Rum With Expats, Edinburgh Fringe 2019/ Soho Theatre 2019 & 2021/ Adelaide Fringe 2020 'political theatre that is true, hilarious and horrifying' ★★★★★ Independent ★★★★★ The Stage ★★★★★ Ed Fest Mag ★★★★★ Miro Magazine ★★★★★ Three Weeks ★★★★★ GLAM Adelaide ★★★★★ Global Media Post ★★★★★ Tulpa Magazine ★★★★★ The Barefoot Review ★★★★1/2 The Advertiser ★★★★1/2 InDaily ★★★★ Time Out ★★★★ Evening Standard ★★★★ Scotsman ★★★★ The List ★★★★ The Times ★★★★ The Daily Telegraph She Bangs the Drums, MSI, 2018 Nominated: Northern Soul Award 'Best Theatre' Nominated: Manchester Culture Awards 'Best Performance' 'it’s not just a production that’s ‘great for a Young People’s production!’ No. She Bangs The Drums is just plain great, full stop' A Younger Theatre 'inspired direction...cheeky, charming and incredibly poignant' ★★★★★ Manchester Evening News 'the piece is exactly the right balance to strike a chord, make an impact and get you all riled up to start a riot' ★★★★★ North West End 'She Bangs The Drums grabs hold of history and gives it a good shake, while casting a thoughtful gaze over the problems women face today. It may be informed by the past, but it’s lively, empowered and very present.' Circles&Stalls 'bold, brave and anarchic' ★★★★ Frankly My Dear 'This is an intelligent and moving piece of theatre that brings out the best from CYC and Sh!t Theatre' ★★★★ Manchester Theatre Awards DollyWould Edinburgh Fringe 2017 'one of the stand out shows of this year's Fringe' Mark Lawson, The Guardian ★★★★ The Sunday Times ★★★★ Evening Standard ★★★★ Scotsman ★★★★ Time Out ★★★★ The Stage ★★★★WhatsOnStage ★★★★ Fest ★★★★ The List ★★★★ A Younger Theatre ★★★★ Broadway Baby ★★★★1/2 ToDoList ★★★★★ British Theatre Guide Letters to Windsor House Edinburgh Fringe 2016 ★★★★ Guardian ★★★★The Times ★★★★Sunday Times ★★★★Time Out ★★★★ Scotsman ★★★★ Exeunt ★★★★List ★★★★Fest ★★★★WhatsOnStage ★★★★ The Stage ★★★★Broadway Baby ★★★★ToDoList ★★★★★ Three Weeks DollyWould preview reviews 2016 'a fascinating and fulfilling show, where the exploration of the spaces in-between Dolly’s seeming and being became fertile, starry, mysterious portals filled with unanswered questions – pure art, this, I felt.' Exeunt Letters to Windsor House preview reviews 2016 There is much that rings painfully true about this show to those of us in 'Generation Rent', but the audience barely stopped laughing throughout this funny, silly, mixed-media performance' ★★★★ Stage Talk Magazine ----------------------------------------------------------- Women's Hour Edinburgh Fringe reviews 2015 (full links to come) 'smart and necessary from a young company who are really finding their own distinctive voice' Lyn Gardner, The Guardian 'surreal, clever and hilarious...the standing ovation at the end was equal parts male and female' The Daily Telegraph ('Five Best Plays to see in Edinburgh') 'bloody marvellous' The Independent 'I would urge everybody to see this show' Total Theatre ★★★★ The Daily Telegraph ★★★★ The Stage ★★★★ Fest ★★★★ Broadway Baby ★★★★★ Three Weeks ★★★★★ Edinburgh Festival Magazine ★★★★★ Scotsgay ★★★★★ A Differing View ★★★★1/2 ToDoList ★★★★ Ed Fringe Review ★★★★ TV Bomb Women's Hour preview reviews 2014-2015 (links and full articles to come) 'Swaggering, smart and side-achingly funny... A funny but fierce look at what it means to be a woman today" - ★★★★, What's On Stage 'Incredibly necessary, and a riotous evening at the theatre' - ★★★★ A Younger Theatre, 'Whip-smart and relentless, [Women's Hour] leaves you feeling exhausted, wrung out by how funny it is but also how accurate, how infuriating... Part-comedy, part-theatre, part-performance art and loads of fun to watch' - ★★★★, Exeunt theatre mag, Sept 29, 2014 'Women’s Hour has at the back of my mind been the yardstick for measuring how successfully feminism is communicated onstage. Women’s Hour casts a long shadow on other shows of a similar nature and its intelligence burns from beginning to end, positively incendiary.' ★★★★ Female Arts, June 6th, 2015 ----------------------------------------------------------- Guinea Pigs on Trial Edinburgh Fringe 2014 reviews (links and full articles to come) 'A rowdy, charming hour of performed journalism' – The Observer 'Hits the spot…moments of genius' – The Guardian 'part expose part cabaret…a heap of gawky, bolshie charm' – The Independent 'sharp, fierce intelligence' – Exeunt ★★★★ - The Scotsman ‘EFFERVESCENT’ ★★★★ 1/2 - To Do List 'CLEVER & COMICAL' ★★★★ - Exeunt ‘OFFBEAT SATIRE’ ★★★★ - Fest Mag ‘HILARIOUS’ ★★★★ - The Stage ‘UNIQUE’ ★★★★ - A Younger Theatre ‘SILLY AND PROFOUND’ ★★★★ - Broadway Baby ‘BEAUTIFUL CLOSE HARMONIES’ ★★★★ - TV Bomb ‘CABARET WITH A CONSCIENCE’ ----------------------------------------------------------- 'Beautifully harmonised and, even better, mercilessly witty' ----------------------------------------------------------- 'Now I am going to be honest, a few friends and I were on our way back home from what they call 'town' here in the capital city of Scotland. This is when we approached the NewsRoom at the top of Leith Street. Having a quick glance at the posters, there was one us flies were attracted to more than any other.... “SH!T THEATRE” and so unplanned, we buzzed our way downstairs to land in on the show. What we landed on was an intimate room with two young ladies up on stage singing away about the dangers of Foxes. I myself have a paranoia regarding four legged gingers so I could relate to what they sang but in all seriousness the girls who turned out not to be called Bouise but instead Becca and Louise who infact are vegetarians were infact my little gems of the night. They deliver an act of current affairs satire that holds no prisoners with song and a great understanding of each other. From Prime Minister David Cameron to the dangers of Foxes via the Fox network, then next stop Sarah Palin hunting dinosaurs. I found myself laughing out loud and sometimes thinking “OOOFFTT, did they just say that?” but I still laughed, why.......??? Cos it was funny!! SH!T THEATRE is like a can of caffeine that instead of giving you wings, it gives you a green T-REX with a human face. I know.......... Check them out, wherever they play. You will laugh. ****/***** Stephen Young' ----------------------------------------------------------- 'To the Grosvenor pub in Stockwell last night for the anti-fascist benefit. ….and the laugh out load review act of ‘SHIT THEATRE’ – two women as funny as fucking fuck. They did an extended manic romp which had Fox News covering the fox scare stories of last year – y’know ‘fox stole my baby and ate it’ – with increasing build up of panic as new fox stories came in – ‘they marry each other’ - brilliant. Other highlights were the Ugg boots song …’Ugg boots – ugly like a feminist’ and the paen to the health work done by religious groups in Africa – ‘Thank heavens for Christian Aids’. Probably heading to the Edinburgh festival I should think but catch ‘em if you can.' ----------------------------------------------------------- 'Sh!t Theatre: Anything but In the basement of a random pub, hardly even listed we struck gold with the comedy duo Sh!t Theatre and their show "Sh!t Theatre present: More Sh!t". A female comedy duo with backgrounds in performance art, improv and music, their politically provocative sketches and songs had our varied audience all in stitches. Accompanied by a guitar and ukelele, the premise of their show is that they wrote themselves a 5 star review and worked backwards from it with a checklist, ticking as they went. This was punctuated with "commercial breaks" where they managed to mock everything from vegetarianism, with their rendition of Lady Gaga's "Bad Romance" entitiled "Meat-free Dress", to Loreal. The "Sh!t" aesthetic to which they continually referred was achieved through their costumes being constructed from newspaper which inevitably also reinforced their focus on current affairs. This subtlety was characteristic of the whole show. The Lord's Prayer to Rupert Murdoch (which can now be seen on their facebook page) reeks of irony, something many comics have not been able to achieve surrounding the phone hacking scandals, preferring instead to take a more aggressive approach. They struck a great balance between continuity and variety, the through threads of the commercial breaks and checklist allowing them explore a number of different issues and tangents jumping between them without losing their audience challenging and commenting on everything from Burkahs to the Catholic stance on contraception. The pair push boundaries without relying on vulgarity or shock tactics unlike so many of the shows we see today. Frankly speaking, Sh!t Theatre shat all over their competition and were my comedic highlight of the Fringe.' ------------------------------------------------------------------------------- |
Evita Too Soho Theatre, 2022 Sh!t Theatre Drink Rum With Expats Summerhall, Edinburgh & Holden Street, Adelaide She Bangs the Drums Museum of Science and Industry, Manchester, with Contact Young Company 2018 DollyWould Summerhall, Edinburgh Fringe 2017 Letters to Windsor House Summerhall, Edinburgh Fringe 2016 Letters to Windsor House & DollyWould work-in-progress show reviews 2016 Women's Hour - Summerhall, Edinburgh Fringe Festival 2015 Women's Hour - Calm Down, Dear Festival of Femisnim, Camden People's Theatre, Sept-Oct 2014 Guinea Pigs on Trial - Summerhall, Edinburgh Fringe 2014 as part of Escalator East to Edinburgh The Scotsman ('Sh!t Theatre present: SH!T THEATRE' Edinburgh Fringe 2010) Leith FM ('Sh!t Theatre present: SH!T THEATRE' Edinburgh Fringe 2010) Resonance FM's Ian Bone (The Stockwell Grosvenor 2011) The Cheap Seats ('Sh!t Theatre present: MORE SH!T' Edinburgh Fringe 2011) |
Rounding off the day were Louise Mothersole and Becca Biscuit as the oddly named Sh!t Theatre. They’re a curious though immensely likeable duo who merge stand-up with physical theatre and biting socio-political satire.
Racism, the Olympic Games, our unpaid intern culture and unemployment all get their particular waspish treatment in their Edinburgh-bound show JSA (Job Seekers Anonymous). Wonderfully politically incorrect and insightful, JSA might not have much of a shelf-life post-Edinburgh, but is a cracking showcase for Mothersole’s and Biscuit’s weighty talents. ----------------------------------------------------------------------------- Suffolk based Sh!t Theatre brought their mix of humour, songs and employment-related hula hooping to the New Wolsey Studio last night. IP1’s Patrick Scott signs on for the review… Being unemployed sucks. You know it, and Sh!t Theatre know it too, which is why they’re here to help. Admittedly, their help is getting you to clear up after them as part of their ‘work placement’ scheme, but it’s a start. Sh!t Theatre’s JSA, in the wrong hands, could quite easily come across as a series of lectures of the state of unemployment today, but what makes it work is the confidence and delivery of Becca and Louise. Their tales of heart-break, aspirations and job seeking are as entertaining as they are informative, the use of props and (really quite impressive) hula-hooping skills providing simple and effective metaphors to the submerged feeling that they, and many others, have felt on the dole. Not that it’s all just talk- there’s a handful of musical numbers, ranging from a general election musical point system to the Burka song that’s not going to be played because it’s offensive (but they’re happy to show you what it would sound like if they did). All of this seams together perfectly and the result is a hugely entertaining show, whether you’re happily employed or living off Pop Tarts. ----------------------------------------------------------------------------- As many performers beginning to think about taking work to Edinburgh, the other side of the acting equation plays on the mind of many others – Job Seekers Allowance. Sh!T Theatre’s latest work in progress looks at the performers relationship with this current political hot potato, but also looks at the wider issues of self-image, self-esteem and meeting parental expectation. This isn’t a too serious political examination though. Think of a long line of satirists such as Richard Stilgoe through Victoria Wood and you get the idea. Song and sketched combine to mock current political figures and events , with of course the current coalition coming in for particular venom. Clad in newspaper covered outfits and almost grotesque clown make up, Louise Mothersole and Rebecca Biscuit make for a disconcerting couple. Through sheer energy and charm though they guide us through the minefield of unemployment, government quotas and the credit crunch. Cameron, Clegg and Coe all come in for ribbing as The Olympic budget is contrasted with the meagre Job Seekers Allowance. It’s all gloriously non-politically correct, with songs about burkas and the deaths of prime ministerial children causing some uncomfortable laughter. As a work in progress there’s still some work to do on structure and the ending is still unfinished but it shows promising potential and, as a showcase for the performers, should ensure they don’t need to sign on too much longer. ----------------------------------------------------------------------------- Pros: Fun, fast paced, topical and true. Uses slapstick to wonderful and meaningful effect. Cons: No clear message. Mainly focussed on the frustration of navigating the current benefits system rather than on seeking a job as the title suggests, even though it’s punalicious. Our Verdict: A really fun piece of theatre to watch as it uses the truth and personal experience to give an insight into the world of government support for the unemployed. Will be even better with more development. “So, what do you do?” I hate this question. It is not only lazy small talk but it makes you no more than your job. What if you don’t like your job? Or know that your job is boring to anyone who isn’t doing it? And what if you don’t have a job? How do you feel then? The latter is what Sh!t Theatre’s Job Seekers Anonymous explores with energy, hilarity and hulas. It is a wonderfully comic expression of exasperation that engages from start to finish. I can’t say there was a focal message to the show, but the overall feel from the performers (for lack of a program I’m going with their self-titled ‘Booise’) was that society blames the unemployed for being irresponsible. They effectively highlight how the jumble of government systems is a joke, and use slapstick in a way that makes you feel like they do: that you really do have to laugh. Otherwise you’ll cry. Jumble is also a good word to describe the show; it is a loveable jumble. There are so many ideas that the performers want the audience to understand, and so ardently, that you really do feel the frustration of their experiences. You leave the delightfully cosy theatre space agreeing that the system is a mess that blames the unemployed for their predicament. However, there is so much to take in that it was never quite clear what the message is rather than “AARGH”! There lacks a strong underlying foundation and they seem to have focussed on what they want to tell you rather than what they want you to hear. The strongest part of the show was the performers’ ability to affect the audience. From the mingling beforehand to the use of song (The Expect song is right on the nail). There were many points at which I laughed out loud and parts where I wanted to clap. I think Booise are going to be really fantastic performance-comedians because of their ability to connect with you, but it needs a little fine tuning. All the jokes were funny, but some went on a little too long. The show effectively built solidarity with the audience regarding their feelings of frustration. It reminds those who have been unemployed not to forget how hard it is and it shows people who’ve not experienced being out of work before that being unemployed doesn’t equate to not wanting to have value in society. The space was used well and the props were all wielded to perfectly illustrate their points (except perhaps PowerPoint once or twice at the start). The costumes were enjoyable, as they played with a mockery of idealised gender which supported their questioning into what was expected of them. Booise are masters at setting a pace, knowing when to speed up, slow down, break tension, hit the punchline and kept interest fervent throughout. It makes for a very entertaining show and some good fun. It’s nearly finished. They just need to figure out what it is they’re trying to say and be ruthless with the content untill they create comedy which is as clear as it is currently clever. ----------------------------------------------------------------------------- Sh!t Theatre's Job Seekers Anonymous is a vaudevillian hotch-potch; a mad passionate and likeable catastrophe' ----------------------------------------------------------------------------- There is a delicious irony in a comedy cabaret about being unemployed turning into a full-on job with touring options at home and abroad and a couple of awards to boot. One of those, the Arches Brick Award, is the reason that Sh!t Theatre's Fringe success is in the current Behaviour programme. That irony is not lost on Louise Mothersole and Rebecca Biscuit, whose white-faced vaudeville zanies - with Mothersole mustachio'd as the trousered fall guy, Biscuit as the bright-as-a-button girlie - sing, dance and breezily riff their way through a wry analysis of job-seeking pitfalls and the doleful aspects of the benefits system. Despite the air of slapdash/slapstick mayhem, the duo are seriously sharp, not least in the way they have re-worked some of the Fringe material and updated the content. This ensures that JSA (as they tag the show) keeps its mischievous, topical edge alongside the nippy sketches that draw parallels between hard times in Victorian Britain and the present state of welfare - the poor are always with us, as is the mindset that blames them for being poor. There are, however, diversionary loops. The section on "asbestos love" is witty and inventive but feels as if its musings on family, friends and relationships had parachuted in from another show. Intern Girl (Mothersole) jumping through moving hoops at the increasingly bizarre commands of Biscuit is a brilliant broadside at the expense of unpaid work experience, while the breakdown of what Thatcher's £10 million state funeral could have subsided - free milk for thousands - flagged up the punctilious research that underpins the duo's wickedly hilarious bouts of political farce. They have gone now, but their new show, Guinea Pigs on Trial, will be at Summerhall during Fringe 2014. ----------------------------------------------------------------------------- SH!T Theatre have been performing their JSA shows for a year and a half. But there seems little danger of this witty, idiosyncratic cabaret piece on youth unemployment growing outdated anytime soon. Indeed, one of their most effective set-pieces involves Louise Mothersole and Becca Biscuit improvising around the childhood vocational dreams and employment reality of audiences they’ve surveyed, including tonight’s, their flailing interpretations betraying the desperation at the core of their defiant, vaudevillian variety. With the cost of living in London outstripping state benefits, and their alternatives ranging from becoming a “sexy secretary”, going on the game or Workfare, you intuit that they’re performing for their professional lives, struggling to justify their theatrical ambitions. Initially at least, I rather empathised with the audience member who suggested that they themselves might be the problem – does a cash-strapped society really need job centre recreations of Charles Dickens and ukulele ditties? Does it need a £10 million “state” funeral for Margaret Thatcher and adoration of the royal baby, they bolshily retort, while acknowledging and exploring their own sense of entitlement. At the same time, their art’s value is shown through the testimony they’ve elicited from retired women and accounts of friction they’ve experienced with their families. There were rare sober moments amidst the pair’s instinctive irreverence, with Mothersole literally jumping through hoops in the guise of Intern Girl. They’re certainly not shy of agitprop staginess, and their hour develops and flourishes as an example of how to apply lightness of touch to disturbing political trends. ----------------------------------------------------------------------------- Sh!t Theatre's Job Seekers Anonymous explores the frustrations of unemployment. The cabaret-meets-live art performance is anarchic, playful and occasionally shocking With a manifesto that promises to explore ‘the political, the personal and the down-right perverted’,Sh!t Theatre (Louise Mothersole and Rebecca Biscuit) became the toast of the 2013 Fringe with their study of life on the margins Job Seekers Anonymous. Anarchic and playful – and occasionally shocking – it took in songs, religious entreaties to media moguls and slapstick sketches on the frustrations of unemployment. Fitting into the Behaviour Festival’s enthusiasm for charged political performance, Sh!t Theatre are somewhere between cabaret and live art: Job Seekers Anonymous is a linked series of routines, but it injects a thoroughly contemporary sensibility into themes that have been current since the beginning of the welfare state. Their scattershot approach recalls the controlled chaos of New York cabaret, while their insistence on sharing their vision of modern British life reflects the increasing enthusiasm of theatre-makers for making work that challenges the status quo. They are never quite as shocking as their name suggests – both Mothersole and Biscuit are endearing performers – and their restless invention and physical skills transform what could be a worthy meditation on being unemployed into a treat of bravura performances, rough theatre and insights into the workings of a society that strives to exclude. ----------------------------------------------------------------------------- Don’t be fooled by Sh!t Theatre’s vaudevillian nature. Job Seekers Anonymous, part of The Arches’ Behaviour festival, shows the company as more than capable of producing humorous, intelligent theatre. Mixing together a healthy dose of social commentary with witty, at times self-deprecating, insights from their own lives, the production drives home the idea that, as a country, we’re more than a bit fucked. It’s a comment on our current government in itself that this production is now almost two years old, yet the message remains as true. Louise Mothersole and Rebecca Biscuit highlight the dangers of the generation birthed by Tony Blair’s ‘education, education, education’ mantra. Yes, there are more of us educated to a degree level, but without the jobs waiting for us after years in faceless concrete buildings, what’s the point of it all? We never really get an answer to that big question; but that doesn’t really feel like the point of Job Seekers Anonymous. It’d be easy to categorise the performers and their woes as the privileged moans of the white middle classes who rule our land, but with sharp wit, they turn the tables on themselves – their ‘checklist’ of reasons why they can’t find employment includes their own sense of entitlement, something they’re very aware of. Job Seekers Anonymous felt like a show that was preparing itself for the theatrical storage locker – the Behaviour performance had an air of triumph about it, the sense that Sh!t Theatre now, with some success behind them, had the chance to look back on the way things were – but perhaps the most alarming thing is that the message remains as relevant as ever. Things aren’t perfect, but with smart shows like this in production, Sh!t Theatre most definitely have some bright times ahead. ----------------------------------------------------------------------------- Guinea Pigs on Trial - Sh!t Theatre Back in the early 2000s I was a poor student. Malnourished I tottered about in rags like a Dickensian waif, until one day a man in a white coat eyed my bony body and informed me I could get a good price for my little toe. £12,000 to get it excised from my body, and then to have the toe stump experimented on to test bold new stump-prettifying drugs. I was initially up for it, but then I chickened out, realising that if I got on the slippery slope of selling bits of me to the highest bidder chances are I'd end up a moderately well off torso. As I happily wiggle the toe now I thank good sense that I didn't go through with it, but it's precisely these kinds of decisions that Sh!t Theatre's Becca and Louise are tackling in Guinea Pigs on Trial, a politico-science-comedy show about the processes of becoming a guinea pig for medical testing. This subject matter ranges from the horrifying to the farcical, Becca and Louise painting a picture of a sinister, secretive industry that trades in the flesh of the desperate. This is all framed through a ramshackle lecture that uses The X-Files as a framing device, encompasses a debate on the merits of Sister Act versus its sequel Sister Act 2: Back in the Habit, public urination and a quick summary of reviews of a crappy local hotel. Sure, Guinea Pigs on Trial is ragged around the edges but we quickly realise this is camouflage for the pair's burning sense of injustice. At the core is the indignation that pharmaceutical companies exploit those in need of money with scant regard for their worth as human beings - preferring to see their guinea pigs as mere proddable, probeable, bacteria-ridden fleshbags. With an admirable willingness to get their hands dirty, the two list off the trials they've applied for, from the innocuous ("Flu Camp", which actually sounds quite nice) to the scary (getting you hooked on smack in the name of science) to the 'holy shit that's a bad idea' (injecting your bladder with botox to see what happens). As they show us the rejection letters, listing faults like "underweight", "too much/little bacteria", "not sterilised", "not wrinkled enough" and so on, we begin to get a sense of the human body as commodity. It's actually pretty creepy stuff: the X-Files framing device stops feeling like a quirky conceit very early on as we learn about the evasiveness of the big drug companies, behaviour which directly led to the disastrous 'Elephant Man' drug trial at Northwick Park in 2006. This cuts to the quick of what Sh!t Theatre are trying to achieve - the charisma and comedy the sugary coating on a powerful political pill. This brand of activist comedy really floats my boat - reminding me of the pointed stunts of Mark Thomas. Here, as there, the laughs spring from some strange place between outrage and shock at the ambiguous flutterings behind the curtains of power. It was ace is what I'm saying. |
WhatsOnStage ('Sh!t Theatre present: Sh!t Theatre's JSA (Job Seekers Anonymous' at the PULSE Fringe Festival, New Wolsey Studio, Ipswich 2012) ip1 Magazine ('Sh!t Theatre present: Sh!t Theatre's JSA (Job Seekers Anonymous' at the PULSE Fringe Festival, New Wolsey Studio, Ipswich 2012) The Public Reviews ('Sh!t Theatre present: Sh!t Theatre's JSA (Job Seekers Anonymous' at the PULSE Fringe Festival, New Wolsey Studio, Ipswich 2012) Everything Theatre (Sh!t Theatre present: Sh!t Theatre's JSA (Job Seekers Anonymous) at the PNPA Festival, Etcetera theatre, Camden 2013 Daniel Yates Exeunt Magazine - Job Seekers Anonymous 2013 at Ed Fringe 2013, Gryphon Venues at the Point Hotel Mary Brennan The Herald, Job Seekers Anonymous 2014 at Behaviour Festival, The Arches, Glasgow Jay RichardsonThe Scotsman, Job Seekers Anonymous 2014 at Behaviour Festival, The Arches, Glasgow Gareth K Vile The List, Job Seekers Anonymous 2014 at Behaviour Festival, The Arches, Glasgow Mikey Reynolds, MiddleMusic.net, Job Seekers Anonymous 2014 at Behaviour Festival, The Arches, Glasgow London City Nights Guinea Pigs preview, 8th July 2014, Theatre Deli, Marylebone |