For a start you need dramatic talent, flair and an ear for dialogue as well as ideas and a good vocabulary to write a play. And I’m still not sure. But, as always it’s probably a case of nothing ventured nothing gained. Perhaps later this year…
Making theatre as diverse as possible is, I think, a work in progress. And progress is the operative word. I’m not advocating complacency. Of course there’s still much to be done but don’t let’s belittle the enormous amount which has already happened.
Above The Stag – which began as a pub theatre – is now housed in a new purpose-built venue in a railway arch. It moved into its new home last year. And when I got to the intelligent loos I was both amazed and delighted.
Drama school audition fees are a scandal. They are immoral and unfair. Drama aspirants should not be punished for their passion.
The open air season will soon be upon us. “If winter comes, can spring be far behind? as Shelley puts it. And no one does open air theatre with more hopeful enthusiasm than the lovably daft British.
I’ve thought and written a lot about performing arts foundation courses lately. It’s the time of year when students are looking at possible options for September and course providers are trying to sell their wares.
If you work with under-18s developing performance skills (along with confidence and all those other useful transferables) then Samantha Marsden’s new book is likely to be very helpful.
It is quite wrong for children to go through their childhood without ever experiencing the transformative magic of theatre simply because their parents aren’t very well off or don’t know much about theatre. Education is about opening doors.
Let’s hear it for pub theatres. Unheard of when I was a London teenager in the 1960s, there are now over 70 of them across the capital and they’re beginning to mushroom in other big cities too.
I’ve seen several plays recently (no names no pack drill) in which I have missed an occasional line. There is nothing, I repeat nothing, wrong with my hearing.