Since the outbreak of the coronavirus, hate crime targeted at East and South-East Asians has tripled. We R Not Virus is a series of monologues, films and poetry responding to that.
You can’t beat the experience of sitting in a theatre watching a live performance, but one of the lockdown-positives is a chance to watch stuff I sadly missed and Barber Shop Chronicles is one of those.
Between Ben Yeoh and David Finnegan, there’s an impressive array of interests, knowledge and skills. Theatre, economics and climate change are among them.
Amantha Edmead is a marvel to watch in Sold, a piece that embraces it all, packing this story of family separation, numerous masters & a quest for freedom into an hour.
Despite the issues, the script’s range of influences and forms, combined with great performances, result in a generally strong production of Fix at the Pleasance Theatre.
The Show People Podcast is back and in this episode host Andrew Keates is joined by writer and musician Kurt Kansley.
Chiaroscuro is a relevant, moving production, addressing issues of sexuality and identity & focusing on characters that are often left out of theatrical narratives. It is a vital and vibrant contribution to contemporary theatre.
The Paines Plough Roundabout is the most reliable, new writing venues at the fringe. With a collection of work that represents the width and breadth of the UK both geographically and thematically, this year’s offerings are universally strong.
Tuyen Do is no stranger to the London stage having appeared most recently in The Great Wave at the National Theatre and Pah-Na at the Royal Court, but next week she’ll be sitting in the audience watching her first full length play Summer Rolls performed at the Park Theatre.
Apphia Campbell gives a powerful and engaging performance in Woke at Battersea Arts Centre and the play’s message about how much hasn’t changed is firmly nailed to the mast.
Hadestown is certainly a welcome contribution to London’s musical theatre. The excellent score and unrelenting criticism of corporate systems that enslave the poor in awful conditions and low pay give this show its value, along with the cast.
Theatre is supposed to reflect society, challenge and change but how can it do that when its programming doesn’t fully embrace the full gamut of ethnicity, sexual orientation and balance of gender?
My hope of ever witnessing a true revolution for women in theatre began to disappear over the last year – until Emilia at Shakespeare’s Globe.
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.
There are great intentions at work here, but the initial concept is flawed – ultimately it undermines the power that the internet and technology gives to the alt-right.
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
If you have only 30 places to offer on a massively oversubscribed acting or musical theatre course then you must award them to the thirty applicants who have the potential to be industry-ready in three years.
Boys at The Vaults is exploration of manhood, of masculinity, of what it means to be a man of colour in the UK today.
Are we people of colour? Are we BME? Are we taking the space of those who need it more? Just hearing those thoughts expressed onstage in White at the Vault Festival, in a space I love and cherish, it brings me relief and guilt in equal measure.
Made up primarily of short vignettes, For a Black Girl at The Vaults pulls apart the constant micro-aggressions faced every day by black women, other women of colour, black men, white women… basically, everyone other than white men.