Getting the accents for lovers Kendra and Betty just right is indicative of the overall authenticity achieved in Matthew Gould‘s production, also commented upon by the Americans in the audience.
I missed a trick with my questions last night at the world premiere of DAMES, the surreal comedy about six millennial women who meet in a nightclub loo, which marks the playwriting debut of Charlotte Merriam and the producing debut of Siberian Lights, the company she co-founded with three of her peers at Royal Welsh College of […]
The Barn Theatre’s inaugural production of The Secret Garden extended by a fortnight – which very helpfully allowed Terri Paddock to fit another trip to Cirencester and a post-show Q&A into the diary. And she’s very glad she did. The full discussion is going down a storm on Facebook Live too. As is the #SecretGardenJam.
When I chaired my first post-show Q&A at Miss Nightingale a year ago, I thought its home then was ideal: The Vaults, in its labyrinth beneath Waterloo Station, so like an air raid shelter, seemed to perfectly fit the setting of London during the Blitz. But now that it’s moved to the London Hippodrome, it’s obvious, THIS is truly the ideal venue.
There are many timely parallels with subjects covered in Ian Grant‘s new play, which spans 66 years in the life of the Randall family, between 1914 and 1973 – including the centenaries of the end of the first world war and votes for women. How does the team capture those incredible time shifts in an instant onstage, on a fringe budget?
Other topics covered included why the creatives wanted to revisit the story of the Rothschilds after more than forty years, the indelible mark our family makes on us, the actors’ approaches to their characters (and whether Robert taught Gary anything about Nathan Rothschild), differences in US versus UK reactions and a fair bit about the real Rothschilds today.