Directed by James O’Donnell, Frank McGuinness’ The Match Box is an in-depth examination of parental grief.
Mates blogger: Michael Davis
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The latest from Michael on MyTheatreMates
Writer Sarah Rutherford cleverly weaves together disparate elements of a sensitive story with subtlety and humour in The Girl Who Fell.
As Matthew Parker’s swansong as artistic director at the Hope Theatre, The House of Yes isn’t afraid to show the underbelly of ‘respectable society’.
One might be forgiven for thinking that Danelaw would be unrelentingly bleak, but in truth the play is a satire and doesn’t avoid the more absurdist elements of storytelling.
Written by Paloma Pedrero – Spain’s most prolific playwright in the 21st century – and directed by Simone Coxall, The Eyes Of The Night makes its UK premiere at the Cervantes Theatre in London.
Written by Paul Westwood and directed by Clemmie Reynolds, Skin In The Game is a family drama with a difference.
River in the Sky shows that even for those dealing with the ramifications of fertility issues, speaking frankly and directly is seldom on the cards.
First performed in 1970, Tricia Thorns’ revival of Philip King’s Go Bang Your Tambourine is remarkably the first time the play has ever been performed in London
Ask people below a certain age what palliative care is and there might not be recognition for the term. But as one gets older, and family and friends succumb to the effects of time, there is greater awareness of end-of-life care – an appreciation of its importance.
In Tegan McLeod’s play Lunatic 19’s, which is directed by Jonathan Martin, we meet a young woman of Hispanic descent who happens to be at the ‘wrong place at the wrong time’.
Written by Anthony Neilson – himself a theatrical bête noire in terms of his fearless probing at the underbelly of sexuality – and directed by Imogen Beech, The Censor is as much a ‘battle’ as a dialogue of between ideologies regarding the nature of sex itself.
Written by Tuyen Do and directed by Kristine Landon-Smith, Summer Rolls focuses on an ‘invisible’ demographic – the Anglo-Vietnamese.
Theatre company Smoking Apples has since its inception used puppets and physical theatre to create imaginative labours of love. In Flux, we meet Kate, a 30-something physicist in 1984, working on energy yields of radioactive elements and isotopes.
Written and performed by Apphia Campbell, Woke connects the experiences of the civil rights movement in the 1960s-70s with events of the present day.
Written by Simon Stephens and directed by Scott Le Crass, Country Music examines the life of a young offender over a span of 17 years.
Written by Bim Adewunmi and directed by Femi Elufowoju Jr, Hoard takes the familiar scenario of the introduction of ‘the boyfriend’ to kin, but bringing the focus firmly on family dynamics.
Written in 1886, Henrik Ibsen’s play Rosmersholm has a new-found poignancy in today’s political climate.
Bella Heesom explores the subliminal messages that girls assimilate from a young age in Rejoicing at her Wondrous Vulva the Young Woman Applauded Herself at Ovalhouse.
But seeing as sex permeates all walks of life, where does one find honest, unbiased answers? Written by Natalia Knowlton and directed by Sammy Glover, Friday Night Love Poem addresses this conundrum through three young women who ‘come of age’ and have their own reasons for their respective ‘issues’.
There have been a number of plays that have dealt with the importance of ‘art’ and what the viewer brings to its ‘meaning’. Sitting – which is written by Katherine Parkinson and directed by Sarah Bedi – takes a different tact, focusing on the relationship the ‘sitter’ has with the person painting them.
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