Typical, a film version of a powerfully poetic and painful 2019 monologue about institutional racism, is brilliant.
Mates blogger: Aleks Sierz
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The latest example of this problematic switch from stage to screen is the strongly acted Shook, Samuel Bailey’s debut play, which won the 2019 Papatango New Writing Prize and had a run at the Southwark Playhouse in November of that year.
Yesterday I watched Skye Hallam’s excellent one-woman show, Heads or Tails, one of the headline acts at the new Living Record Festival. It’s a gently confessional monologue about the afterlife spoken by 25-year-old Steph, who has – as they say – been “taken too soon”.
I watched the streamed version of December, written and directed by Alexander Knott, and performed in the Old Red Lion Theatre and pub.
With S-27, the Finborough once again punches well above its weight, making another compelling contribution to the brave new world of streamed theatre.
The promise of being “urgent, responsive and fast” may not always be achieved, but at its very best the Royal Court’s Living Newspaper: A Counter Narrative is both pertinent and full of joyous energy.
Travis Alabanza’s play Overflow at the Bush Theatre is both tender in its empathy for the different kinds of trans experience and passionately angry about prejudice.
Misfits, from the Queen’s Theatre Hornchurch, comprises four excellent fractured monologues, written by Kenny Emson, Sadie Hasler, Guleraana Mir and Anne Odeke, which focus on Essex,
There’s plenty to enjoy in Little Wars’ jokes, and then, later on, the final harrowing monologues about the genocide are both powerful and deeply moving.
Originally commissioned as part of The Power Plays produced by Theatre Uncut in 2018, A Coin in Someone Else’s Pocket is a wonderfully thoughtful meditation on what it means to be a female Muslim writer.
Theatre is just different organisms in close proximity. It’s a great image, and one of many that float gently to the surface in Ben Duke’s In a Nutshell, a monologue which explores with a marvellously tentative touch the nature of theatre, meaning theatre as it was until the pandemic struck.
This is a masterly revival of An Evening with an Immigrant, Inua Ellams’ 2016 autobiographical one-man show which is both poetic and engaging.
Although I have visited Brick Lane a number of times over the years, much of We Are Shadows: Brick Lane this was refreshingly new to me and the adventure was a delightful experience.
Simon Stephens and Juliet Stevenson create a perfectly beautiful and haunting installation for our times in The Blindness at the Donmar Warehouse.
The bright colours of the performance underline the surrealism of Scrounger’s quest for justice, and Athena Stevens, the first actor in a wheelchair nominated for an Offie, performs her story brilliantly.
A rediscovered Edwardian problem play gives a clear picture of marriage and morals in a bygone era.
In Continuity, Gerry Moynihan explores the men’s fanaticism and the effects of their frustrated masculinity on their political beliefs.
This venue’s urgent response to the killing of George Floyd and the Black Lives Matter campaign is powerfully realised.
Alan Bennett writes that “I’ve always had a soft spot for George III”, for no better reason than that he had studied the monarch’s reign at secondary school and then again at uni.
The problem with creating theatre in an era of lockdown is that the constraints of working online tend towards a uniformity of creativity
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