‘In terms of the future, we want 503 to be resilient and it feels like our community of audience and artists believe in the necessity of an organisation such as ours. At the same time, there are no guarantees.’
The more you think about the invitation to the audience – as you say ‘come, be blocked off behind screens, we will spray you and present shows where actors stand apart, and we will try to encourage you not to sing along’, it’s like an anti-theatre.
‘It feels to me like, with The Great Gatsby, we had an opportunity, and resulting from that a duty, to use the show to work out some of the key things that might help the industry as a whole.’
Head of theatre and artist development at Brixton House (formally Ovalhouse*) Owen Calvert-Lyons talks about life during the lockdown, the post-Covid future for fringe theatre and streaming.
Part informal chat, part performance, this series of bi-weekly Sunday evening sessions is designed to support creatives in the entertainment industry during this strange and challenging time.
As his new digital sheet music store New UK Musicals launches, I talk with multi-award winning composer and lyricist Darren Clark about the site and his career.
Emma Clarendon chatted to Tori Allen-Martin and Sarah Henley about their new not-for-profit organisation, Burn Bright.
‘We’ve spent seven years building to this point and three years to open the thing, changed the area and culture of the place, and in the snap of the fingers, it’s a ghost town.’
“We have grabbed this opportunity with both hands to make something original – not a film of a staged version of the play BUT a new hybrid production.” When COVID-19 ended hopes of a London season for new HIV drama Moment of Grace, writer Bren Gosling set about recreating it for the screen. Find out more in his fascinating interview…
In the second of our series of Notes From The Front Line, I talk to Grace Church of Guttersnipe Theatre about their process of continuing to develop their devised project in lockdown over Zoom.
‘The major question is that the majority of theatres cannot open with social distancing in place – it’s impossible, for economics, for the business case let alone the experience, it just doesn’t work.’
In the first of a series of Notes From The Front Line interviews, I speak to director Max Lindsay about his experiences working on a show over Zoom in lockdown, to find out about how he’s been getting on and see what tips or advice he has to share.
‘The real unknown is when people are going to want to go back into the theatres, regardless of government advice. We don’t know that. It will be a long road.’
The coronavirus pandemic and lockdown has thrown a whole new light on certain plays, the ones about isolation, loneliness and surreal landscapes.
‘Over 150 artists and participants have engaged so far, and we’ve raised £17,000 in support for these projects from our friends, members and supporters.’
During the Golden Age of Hollywood, movie musicals were abundant and arguably the most popular genre. However, with the move towards pop culture in the 1960s, their popularity dwindled and gave way to a more rebellious style and tone.
‘I actually managed to be quite philosophical about it in the end. There’s a sense that we’re all in it today, and there are much bigger things at play, like people dying and getting sick.’
I posed some questions to The Show Must Go Online returnees Luke Barton, Kristin Atherton, David Johnson and Lucy Aarden about their experiences with this weekly lockdown hit.
Since the COVID-19 lockdown was introduced back in March, many of us have turned to social networking apps like Skype and Zoom to stay in touch with loved ones. And now theatres and production companies are getting in on the act too, broadcasting shows…
“As soon as the theatres closed in the week of 16 March 2020, we thought ‘we need to remember we’re a theatre and think about what our role in relation to the city might be in this strange world’.”