Image courtesy of The Writers’ Corner
Review by: Blake Zhang
Rating: ★★★★☆
Review: Writers’ Corner Scratch Night, Laughing in Colour: Vol. 2
The Pleasance Theatre, 1 April, 7:30pm
The evening was expertly steered by a charismatic host, whose witty banter and seamless transitions maintained a vibrant momentum throughout the night. Set in a relaxed and welcoming atmosphere, the program featured eight short pieces brought to life by a talented ensemble. Their sharp comedic timing and expressive performances gave each script a distinct vitality, centering on humor while providing a vital stage for underrepresented voices.
Leila Malik’s All About Agatha explores the everyday arguments of a couple through sharp, well-paced dialogue. The contrast between male and female perspectives is handled with precision, and the comedic timing lands particularly well. The piece builds towards a memorable moment when the woman casually admits she wants to cheat, leaving the man visibly stunned and the audience with plenty to think about.
Qi Wang’s A Nora’s House revisits A Doll's House through a playful but thoughtful premise. An actress playing Nora suddenly finds herself inside Nora’s home and forces her husband out. While many feminist readings end with Nora’s departure, this version raises a different question. If women have invested so much in the home, why should they be the ones to leave it behind?
Jess Lo’s stand up set reflects on her experience as a Hong Kong immigrant in the UK. Performed with an intentionally naïve tone, the material turns moments of cultural friction into something gently absurd and very funny.
Giulia Lopes Mazzu’s ADHD sketch imagines a workplace pushed to surreal extremes. Built around conflict with colleagues, it develops into a chaotic fantasy. The final moments combine violence and humour in a way that is both unsettling and entertaining, leaving a strong impression.
Jay Bhatt’s Call of Duty uses a single phone call to reveal differences between two generations within one family. The structure is simple but effective, allowing contrasting values to emerge through conversation.
Susan Abidakun’s Get Ready With Me takes on the perspective of someone who is cheating, finding humour in a morally ambiguous situation without trying to resolve it too neatly.
Mei Mei Macleod’s stand up on Chineseness is one of the most striking parts of the evening. It openly critiques Western perceptions of East Asia, especially the contrast between enthusiasm for Japanese culture and the tendency to overlook its wartime history. The material is bold, direct, and consistently funny, which is still relatively rare on UK stages.
The final piece, The Change Up by Nayib Jean Baptiste, follows an adult film director who lands a major opportunity in Haiti while discovering she is pregnant. Her boyfriend’s initial excitement soon turns to discomfort when he learns about her profession, and their exchanges reveal both sharp humour and a familiar strain of male self righteousness.
Overall, the evening is enjoyable and well put together by producer Winnie Arhin and assistant producer Kai Johnson. The scratch format allows for risk and experimentation, and the work on show feels confident, playful, and engaged with contemporary issues. More importantly, it creates a space for voices that are not always heard, making it a fitting way to spend an April Fool’s evening.