Writer Tabitha Mortiboy has succeeded in creating a succinct little world that feels very cut off from the town that must (presumably) surround it in The Amber Trap.
My recent theatre trips have included Like You Hate Me and The Amber Trap, two world premieres with women at their core. Here’s a round-up of my on-the-night reactions to each.
The actress chatted to Love London Love Culture’s Emma Clarendon about her latest role in Hannah Hauer-King’s premiere of The Amber Trap for Damsel Productions at London’s Theatre503.
Tabitha Mortiboy’s The Amber Trap is the fifth female-led play from Damsel Productions, which is dedicated to presenting work written and staged by women. We talk to Mortiboy about why companies like Damsel are so necessary to redress gender imbalance and how her play considers power structures… and stalking. Time to get booking!
Preparations are underway for Tabitha Mortiboy’s The Amber Trap, the fifth female-led play from Damsel Productions, which premieres this month at London’s Theatre503, where it runs from 24 April to 18 May 2019. Sneak a peek inside rehearsals with our photo gallery – and then get booking!
Women’s voices are always centre stage for Damsel Productions. They now premiere their fifth female-led play, Tabitha Mortiboy’s The Amber Trap, with a limited run season at London’s Theatre503 next month.
Although The Mousetrap is often dismissed as a mere genre piece, all plot and no characters, I think this does an immense disservice both to Christie’s skill and to the pleasure that murder mysteries and crime thrillers can give their audiences.
The Donmar Warehouse has announced full casting for Elinor Cook’s new version of Ibsen’s 1888 masterpiece The Lady from the Sea.
Cara Vita: A Clown Concerto, which explores the joys, sorrows, and hilarity of contemporary adulthood through music, circus and magic, will be seen in Europe for the first time this February as part of VAULT Festival. Book your tickets now.
The Good Scout achieves the impossible – finding an original, untold story from World War Two. In the 1930s, boys from the Nazi Hitlerjugend visit British Rover Scouts for a cycling holiday as a cultural exchange.
Actually has its issues as a drama and the heavily discursive competing narratives approach limits how the play is staged that can feel repetitive at times, but Ziegler has created a scenario and two complicated people who feel credibly drawn.
My recent theatre trips have included Dante or Die’s User Not Found and Blueprint Medea, written and directed by Julia Pascal. Here’s a round-up of my on-the-night reactions to each.
Many of us will be all too aware of the 9-to-5 drudge that office life can encompass. Yet in Gecko’s Institute, the office becomes a place of both dream and nightmare.
One month to go until Theatre Témoin’s latest devised show FEED arrives at London’s VAULT Festival. We hear from artistic director Ailin Conant about clickbait capitalism and round up reviews and interviews from Edinburgh and on tour. Time to get booking!
it is pleasing to see that Ross McGregor’s new play Gentleman Jack respects its subject enough to give a full picture of their life.
Anything on the internet stays there forever – or so they say. For the ‘Original Death Rabbit’, being at the wrong place at the wrong time has meant that she’s trapped in the past, like an insect in amber… Written by Rose Heiney and directed by Hannah Joss, Original Death Rabbit is a one-woman about a former internet sensation.
Further casting has been announced for Emilia, written by Morgan Lloyd Malcolm and directed by Nicole Charles at the Vaudeville Theatre from 8 March to 15 June 2019, following its run at Shakespeare’s Globe in 2018.
Here in Robert Hastie’s careful production of Macbeth is all the horror, psychological acuity and profound, terrified morality of Shakespeare’s darkest play.
Director Jude Christian’s othellomacbeth, two-for-one offer on Shakespearean tragedies at the Lyric Hammersmith, sounds like a bad idea. Crammed into two and half hours, there’s too much material and too little time. And yet, somehow, they manage to pull it off.
The Little Mermaid is a tame show, neither hilarious or moving but gently soothing – childlike in form and function. Off-script jokes and commentary on the narrative choices would allow for a feminist retelling to thread through the work which, at present, is lacking.