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THOR AND LOKI A smash hit for Marvel and musical fans alike ●●●●●

THE GREATEST PLAY IN THE HISTORY OF THE WORLD Moonage daydream in life-affirming play ●●●●● LOVECRAFT (NOT THE SEX SHOP IN CARDIFF) A show with a heart and intelligence ●●●●●

In a near-apocalyptic world, not unlike our own, the fate of the gods and everyone else rests in the hands of the mighty Thor but he's not too keen on using his mighty hammer. This adaption of the Norse legend sees Thor as a vegan pacifist, and Loki as the under-confident and scorned ugly duckling, who just wants to picnic with friends and make dreamcatchers. Together they must overcome their differences, family ties, and insecurities in order to save the world.

This production carries all the quick wit of a Marvel movie, with a few parallels drawn between the Asgard and 2018 USA. Odin appears cloaked in gilded wrestling gear, while Thor's jocular brothers sport American football attire; together they sing a very enthusiastic song about the merits of building a wall. There's plenty of snappy throwaway lines, political gags, and a healthy dose of silliness to keep everyone laughing. And if that's not enough, the cast's talents will continually amaze: they sing, dance, tap, play multiple characters, and numerous musical instruments. This feel good show by Vicky Graham Productions is full of talent used well. (Clare McVay) Assembly Roxy, until 26 Aug (not 13), 7.15pm, £13–£15 (£12–£14).

Some plays should be prescribed on the NHS. The Greatest Play . . . is one such play, a feelgood story with love inscribed even in its process of creation. With the warmth and ease of a stand-up comedian, Julie Hesmondhalgh narrates a space-age love story written by her husband Ian Kershaw which weaves poetry into the most mundane situations.

Time seems to have stood still for Tom, an

aspiring writer and lost soul. But as he stands at his window, there is another figure on the street across the way mirroring him. Has he found a new plot point, or a true soulmate? What unravels is often profound, funny and heartfelt. It takes skilful storytelling to bring chance, parallel universes, and cosmology to what is ostensibly a light rom-com. That Kershaw's script does it with humour and heart reveals the voice of a talented playwright. From the first moments, when Hesmondhalgh

asks audience members to divest themselves of their shoes, she flawlessly brings to the fore reminders and eloquent evocations of the vastness of space, and incidents of human interconnectivity. A small, perfectly formed production. (Lorna Irvine) Traverse, until 26 Aug (not 13,20) times vary, £20.50 (£15.50).

Lovecraft aims to bring people together by explaining the science of love. This one-woman performance by Carys Eleri promises to explain how understanding the brain can help us tackle loneliness, and fight the growing isolation epidemic. It's a noble idea, and one which is obviously backed-up by a lot of research (there is a reading list handed out). Like a Brian Cox of love, Eleri's explanation of how the brain works and the chemicals it releases in different love-related situations is insightful and comforting. Moreover the frankness and honesty of her stories

creates a sense of intimacy and complicity. As Eleri confides her personal history of past relationships, the audience nod, groan, and laugh with recognition and sympathy (there's a lot of shared pain over Tinder in particular). But the many post-breakup songs which punctuate

the wry storytelling are given too much of a centre stage here, and in the end leave little time to tie the lesson together, nor answer the key questions posed at the start. Nonetheless, it seems Eleri genuinely cares, and the audience leave feeling closer to one another than when they first sat down. (Clare McVay) Summerhall, until 26 Aug (not 13, 20), 9pm, £15 (£12).

P H O T O : J O H N L A U E N E R

CENTURY SONG Unconventional exploration of womanhood and race ●●●●●

Classically trained soprano Neema Bickersteth is a wholly compelling performer, despite not uttering a single word during Canadian company Volcano's multimedia performance work, Century Song. Alongside pianist Gregory Oh, and percussionist and computer effects technician Benjamin Grossman, she presents a one-woman show that fuses art forms to interrogate 100 years of the black North American female experience.

Century Song is multidimensional in its creation, with

Bickersteth's wordless singing of classical songs and improvised instrumental music providing an affecting soundtrack to stunning projections and tenacious choreography. The music and visual art used is bold, supplying an ideal backdrop to the lush vocal arrangements.

Beginning with Rachmaninoff’s Vocalise, Century Song goes on a stirring journey that includes music by Messiaen, Cage and composer Reza Jacobs. As well as classical music, there's also a comical medley of classic TV theme songs, as played by Oh and Grossman. In each time period and piece of music, the experimental nature of Bickersteth's melisma and the matching musique concrete creates the kind of theatre that doubles as art through the interconnectedness of its many different and arresting elements.

With collaborators Ross Manson (direction) and Kate Alton (choreography), Bickersteth provides an insight into the unspoken history of black women. The lack of a set storyline accentuates the theatricality of each period depicted, while placing a focus on an unconventional exploration of changing realities. (Arusa Qureshi) ZOO Southside, until 18 Aug (not 15), 3pm, £12–£14 (£10–£12).

8–15 Aug 2018 THE LIST FESTIVAL 97