Shakespeare. Theatre. Press Nights. These are all concepts we are familiar with, but in this unprecedented time of COVID-19 lockdown, for a moment we were unsure how theatre would survive.
Mates blogger: Shanine Salmon
Shanine Salmon is one of over 45 theatre bloggers who are part of the MyTheatreMates collective. This page features Shanine's posts on MyTheatreMates. Take a look at our full list of theatre bloggers and our aggregated feed of all our Mates' posts. We’re always looking for new theatre bloggers. Could that be you? Learn about how to join us.
Shanine Salmon was a latecomer to theatre after being seduced by the National Theatre's £5 entry pass tickets and a slight obsession with Alex Jennings. She is sadly no longer eligible for 16-25 theatre tickets but she continues to abuse under 30 offers. There was a market for bringing awareness that London theatre was affordable in an era of £100+ West End tickets – Shanine’s blog, View from the Cheap Seat, launched in April 2016, focuses on productions and theatres that have tickets available for £20 and under. She is also quite opinionated and has views on diversity, pricing, theatre seats and nudity on stage. Her interests include Rocky Horror, gaming, theatre (of course) and she also has her own Etsy shop. Shanine tweets at @Braintree_.
The latest from Shanine on MyTheatreMates
‘This was the best time I’ve had on a Zoom call’: JURY DUTY – Exit Productions ★★★★ (Online review)
In this world turned upside down, emergency legislation has been rushed through to do away with barristers. Now the accused in court have only you.
For many cash-strapped theatres, Covid has just accelerated things to come
We need to use this time wisely. As audience members, what do we want to see; as creatives, what can be made. If the expectations don’t match, then audiences won’t be back.
‘Technology can bring us together but also tear us apart’: THE GHOST IN THE MACHINE – A Zoom play (Online review)
This play, written especially for Zoom by John Knowles, looks at a group of people trying to make a seance work when they can’t hold hands.
‘Guaranteed to occupy your thoughts long after the stage lights dim’: PEACE IN OUR TIME – Union Theatre
A fascinating historical curio, Sasha Regan’s production Peace In Our Time is also a fine piece of speculative drama, imbued with Coward’s gift for eloquence and waspishness.
‘The cast is really very good at being really rather bad’: THE IMPORTANCE OF BEING… EARNEST? – Omnibus Theatre ★★★★
In a world where – if the virus won’t kill us, Donald Trump will – we really, really need good, well delivered, confident silliness and The Importance of Being Earnest delivers.
‘A snapshot of a past that recently bled into the present’: NOT QUITE JERUSALEM – Finborough Theatre
What makes Not Quite Jerusalem such a vivid and enjoyable play, is the nuanced and recognisable characters – backed here by exemplary performances from a talented cast.
’Interesting triptych of plays’: Nuclear War / Buried / Graceland – Old Red Lion Theatre
The Old Red Lion’s put together an interesting triptych of plays that, if you’re short for time, allow you to experience the gamut of human experience.
‘A slick ensemble fizz & pop into different people’: THE SPECIAL RELATIONSHIP – Soho Theatre
Verbatim plays can often feel static with a view of just letting the words do the work, but the words really lift off the page in The Special Relationship.
‘I definitely learned much while enjoying myself hugely’: JEKYLL & HYDE – Vault Festival ★★★★
The atmosphere created by the superb cast in Jekyll & Hyde as well as the challenge of the game is enormous fun and the time flew by.
‘Weirdly retro’: BE MORE CHILL – The Other Palace
Clearly something in Be More Chill has touched a chord with today’s youth, but catchy songs written by committee to hit the teen feelz doesn’t make up for a weak book and problematic politics.
‘Irreverent, silly, satirical & fun, fun, fun’: LA CAGE AUX FOLLES [THE PLAY] – Park Theatre
Based on Simon Callow’s English translation, this version of La Cage aux Folles stays true to the original French text. Callow’s edits and new dialogue has given us a fresh interpretation which is arch and bubbling with hilariously sharp one-liners.
‘A brilliant first play’: THE HIGH TABLE – Bush Theatre
Temi Wilkey has written a brilliant first play, which grabs you even though you’ve probably seen many of the components of The High Table before.
‘It is my tribute to everyone of us who is adopted’: Karen Bartholomew on Giving Up Marty at the Vault Festival
Giving up Marty, written by Karen Bartholomew, looks at the impact on adoption when the birth family comes looking.
‘Moving & sympathetic portrayal of a complex man’: CHAPLIN: BIRTH OF A TRAMP – Brockley Jack Studio Theatre
Chaplin: Birth of a Tramp is a sensitive and interesting take on Chaplin, looking at the artist behind the art and continues to showcase Arrows and Traps as a innovative company.
‘A comedy monologue like no other’: MUSIK – Leicester Square Theatre
Frances Barber gives one of the performances of the year (yes I know it is only February) as Billie Trix in Musik, reuniting with Jonathan Harvey and the Pet Shop Boys.
‘Funny & poignant’: TIME & TIDE – Park Theatre
Although Time and Tide ends on a hopeful note, it is not sickly sweet. The characters’ coming out and coming of age stories are grounded in the joys and disappointments of real life. The ending is just right for the characters.
‘Smart & funny two hander’: SEX/CRIME – Soho Theatre
Alexis Gregory’s script for Sex/Crime takes an uncomfortable glance at our obsession with serial killers, sexual violence and 21st century homosexuality.
‘It is a star making performance from Daisy Wood-Davis’: BEAUTIFUL THE CAROLE KING MUSICAL – Touring
In this touring production of Beautiful, following on from lengthy London and Broadway runs, Daisy Wood-Davis plays Carole King from innocent 16 year old with enviable talent to an older and wiser woman.
‘A brave effort to modernise the eponymous Greek tragedy’: ANTIGONE – New Diorama Theatre
Presented by company Holy What, playwright Lulu Raczka’s reimagining of Sophocles Greek tragedy Antigone, uses an all-female cast.