Written by Nadia Fortini and directed by Catrin Ody, this particular play is set over the course of an all-nighter, as interns Lola (Natasha Vincent), Penelope (Maya Moravec) and Chad (Anzi DeBennedetto) clean out the physical office space and position that they’re competing for. The  relationships between these characters are very quickly and deeply established, and over the course of the show, they constantly shift and develope, to the point where the subtext of interactions between characters pretty much screams at us. There are quite lengthy periods where we are lulled into a kind of rhythm by the repetitive tasks - it suits the show well in creating a kind of realism in terms of establishing setting and context within a limited space and time, but these moments perhaps go on for longer than necessary and quickly move from novel. 

William Shakespeare’s plays have been staged and re-staged time and time again, in many different forms, settings, genres, each theater company trying to bring something new to an age-old and familiar story. Shadow Road’s Macbeth Sleep No More is the latest attempt at trying to present a new interpretation of a story so old that it has its own superstition attached to it. 

Academically speaking,  climate change is considered a ‘complex problem’. This means that there isn’t a simple solution, and will require actions from a cross-section of international actors to solve, an abstract problem with no one solution. This is the challenge that Lewis Hetherington’s No One Is Coming To Save US faces, as it brings a relatively abstract concept to life onstage.