[Expletive Deleted]
Was, funnily enough, deleted due to technical failure.

Dragon's Lair
Sees a young 'Knight adjunct, Clerk of the realm' Sir Aloicious (Blair Milan) slay a dragon to avenge an injured man's wife. This play is clearly heavily influenced by Monty Python humour and although it is funny at times, there isn't anything side-splitting or stand-out about it. The acting is a bit stiff but will surely loosen as the (k)nights go by.

On Stage There Are Two Characters
Delves into the writing process and philosophically (but repetitively) explores the tension between desire and memory. It is quite interesting but after the third repetition of "Everything is a copy," I was ready to sound the gong.

Little Blue Pills [pictured]
This play is a monologue about the suicide of Renee, the girl from Claire (the protagonist's) past. Although well executed by Bel de Jersey, the story failed to hold my interest, and this was not helped by the refrain of "Renee, hovering in the background. Hovering" every what seemed like 10 seconds. This would have worked beautifully as a written piece, but as a performance I feel it misses the mark and is a tad self-indulgent, and to be honest, boring.

The Painter
My personal favourite of the performances. It is a simple piece about adultery. Michael, a painter (a house painter, not an artist painter) leaves his wife Helen (Suz Mawer) for Nina – a beautiful "force of energy", then subsequently leaves Nina for another woman. Helen and Nina's revenges are sweet, the dialogue is good and the role reversal of the husband feeling betrayed is cleverly done. The painter is honest, charming and well executed.

Just Because Of The Umbrella
This one has both characters speaking their inner thoughts as well as their outer conversation. This is an interesting technique but ends up being a case of far too much information – the audience can easily guess the internal conversation of an awkward post-one-night-stand dialogue, and it made the play stilted and convoluted. Furthermore, the subject matter is not particularly dramatic or engaging.

Cacaphone
Yet another play to use repetition ad nauseam; this time however it adds to the tense, claustrophobic atmosphere of the piece – it's an armageddon-style play, with three characters repeating what's wrong with the world, and a bright light and a deck of cards are very simple yet unnerving props.

Standing With Blackness
Deals with a murder committed by a mentally disabled person. This is quite a good piece - well-written by Drew Larimore of the USA and well-executed by Simon Dooley and Leon Anderson. It is pretty thought-provoking as well, and raises many issues about guns, mental illness, morals and other sobering issues. Again, I found the repetition of "blood is red and sweat water" annoying, but in context it works I suppose.

Perfect
Provides comic relief from the previous two heavy-going plays. It follows two Australians travelling round the world in search of true love, only to find everything they never knew they wanted in each other. The story is cliché, and when did it become acceptable to write plays in point form? The script is literally "Airport. Waiting, waiting. Arrive. London. Hotel. Unpack" with a few exchanges now and then. However, it is all done very professionally and well-directed so that it flowed seamlessly, it just seems to be lacking in the sentence department.

Neighbours
Unlike its television counterpart, Neighbours do not become good friends in this play. Bill and Susan are very conscious of being alert for any suspicious behaviour – so they've decided to use a pair of binoculars to spy on their neighbours, who use an awful lot of fertiliser and grow tomatoes in the back garden. And take photos of their neighbours videotaping their house. This farsical comedy takes the concept of the surveillance state, and is amusing although the joke is kind of old now. Still, it's nice to see some politics and current issues in the mix.