I spoke with writer Patrick Cash and director Peter Darney about their experiences with the King’s Head in the past, their hopes for the show in the future and their excitement at being a part of such a landmark celebratory year.
David Fairs flips comedy into tragedy with apparent ease – the fluidity of the text belies the time and effort taken to rework a Shakespearean script and give it a whole new angle. Puritans may argue that Shakespeare is not a playwright to be mess about with, but the care and respect Fairs gives to The Bard only further showcases his writing prowess.
A stonemason or a delivery boy; a cocktail waitress or a trucker. Whether they be a housewife or factory worker or retiree, the ordinary man is often overlooked. Working is a musical for the layperson, a window into the thoughts of the everyday 1970s American, as interviewed by Studs Terkel in his book of the same name.
When it comes down to it, children are pretty shit at most stuff. As adults, especially as relatives, we sit through their talent shows, their sports games or their music recitals as they scratch away at the violin, miss an open goal or belt out Ariana Grande (even though the backing track is for a Taylor Swift song).
Shovel, tip, repeat. The monotony on Robben Island continues, a worthless activity that Winston (Edward Dede) and John (Mark Springer) carry out simply because they looked the wrong way at a prison guard that morning. In the first fifteen minutes of The Island, John Terry highlights the crushing futility of existence as Winston and John labour to physical exhaustion.
Set on death row in America, Pharmacy Theatre adapts Rene Denfeld’s novel The Enchanted for the stage. Exploring the nature of ‘evil, punishment, clemency and redemption’, the creative team present a show that would demonstrate potential if it hadn’t had a year to develop since its premiere at the Edinburgh Fringe Festival 2016.