The six shows at the Roundabout exemplify Paines Plough’s focus on excellent new writing that’s relevant and thematically diverse.
Using the word ‘strong’ to describe women and girls is redundant. Putting up with all the trash that women have to deal with as a result of their gender, on top of everything else life throws at them, makes them strong by default.
Who knew one of Shakespeare’s greatest tragedies could be funny? Director and composer Claire van Kampen has tapped into a rare rhythm that sees Iago as a weaselly, clownish man lacking power and finesse, yet still manages to twist Othello into knots
Whilst war rages in the Ukraine, a journalist goes to the front lines and falls in love. Girls sit on a park bench, waiting for their soldier boyfriends.
Zoe’s back at her commuter belt town’s refuge after her husband beat her up again. This time it’s because Palace lost. Last time, it was because she was nagging to much.
IIn light of recent reports of abuse, it has become apparent that many of us have failed to engage with the dark truths that hide beneath the surface of of the theatre industry. Action needs to be taken regarding the treatment of our female colleagues.
George Joseph Smith was a petty thief and con man who preyed on the most vulnerable women he could find. He would win their love, persuade them to elope, then strand them on their honeymoon after cleaning out their bank account.
My time at drama school was otherwise wonderful. It was everything it should have been: fun, stressful, empowering, confusing and thrilling. But it was also something it absolutely shouldn’t have been.
Devised by the original company, this Bristol Old Vic and National co-pro has little technically wrong with it – it captures Jane’s spirit reasonably well, using physical theatre to cut through the dense length of the novel.
Alex Gwyther’s Eyes Closed, Ears Covered is a slippery play that continuously raises questions. We’re immediately presented with Alyson Cummins’ concrete-grey, angular set, suggestive of a brutalist play park in a rundown housing estate.
Marnie’s a 22-year-old single mum from Bermondsey and every day is a fight at the moment.
Actor and writer Milly Thomas is an unstoppable force refusing to shy away from tough material. Her two shows at the fringe are stylistically different from each other, but both are similarly confrontational.
In Amici Dance Theatre Company’s revival of their 2015 show, over fifty performers – professional and amateur, disabled and non-disabled, child, adult and OAP – come together to capture the mood of a down-trodden working class continuously exploited and discarded by those with money and power.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
It’s hot. Real hot. And you’re dancing, just lost in music. You’re at the legendary Shrine nightclub in Lagos, where Afrobeat star Fela Kuti is king. It’s 1994. And it’s hot. Sweat is just pouring off you, no longer in little trickles but soaking through your clothes.
Andrea isn’t very well. In solitary confinement at some sort of secure facility, she has no one to talk to other than those who briefly visit and those who live in her head.
This revival of Michael John LaChiusa’s musical The Wild Party unfortunately lives up to its original reception. Dripping with sex, booze and jazz, there are some great tunes but little substance.
Amongst the vocal campaigns fighting domestic violence against women and male rights’ activists misogynist responses, the fact that at least 4% of men are victims themselves is often overlooked. That 4% is reported abuse and no doubt there are many more cases that are never logged with authorities.
Experimental family drama is very powerful, but its theatrical form is too complicated for its own good.
When fourteen-year-old boy Red starts at a new school after his parents’ divorce, his mum anxiously worries about him making friends. Soon, his mobile is constantly buzzing with texts and he’s out most evenings.
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