Growing global discontent has been the hallmark of 2018, and 2019 is looking even worse. The last few years have marked a rise of the far-right, but theatremakers in opposition are letting audiences know it from the stage. Some of the best shows of this year show anger, fear, uncertainty or simply let the world know that enough is enough – it’s time for a fairer, more peaceful society that pays homage to all of its people.
Battersea Arts Centre has announced that Tarek Iskander will take up the position of artistic director and CEO in May 2019.
If Orpheus was simply a re-telling of this myth, it would be over very quickly. Instead, music features heavily in the show – some of which are original compositions and some are well-known pieces of classical music.
I’m a sucker for inventive adaptations of Shakespeare plays, so Paper Cinema’s Macbeth, a live-action, silent movie version, is hugely appealing.
Bryony Kimmings’ latest show I’m A Phoenix, Bitch is autobiographical in nature in which she gives a very frank account of what it is was like for her a couple of years ago, where after a period of ‘bliss’, her life unravelled – ultimately reaching ‘rock bottom’.
It honestly doesn’t let up. At all. After an Edinburgh-focused August, and a ‘keep myself busy at all costs’ September (mostly to avoid the hell that is rush hour transport), October has rolled in, bursting at the seams because there is too much to do.
Adam Kashmiry is a man that was born in Egypt in a woman’s body. From a young age, he knew his soul didn’t align with the gender he was assigned at birth, but it wasn’t until he discovered the internet as a teenager that he found a word for this.
Spring is here (finally) and with any luck, we’ve seen the last of the snow so time to think about venturing out in our evenings, such as going to see some cracking theatre.
Beowulf has two monsters – a bog standard monster and a dragon – and many choices that first lead to his victory, then a tragic end. Since Seth Kriebel tells this story on his own, he enlists the audience to help him make Beowulf’s choices in this gently interactive interpretation of one of the world’s oldest tales.
In adding herself to the short list of actors who’ve tackled Not I, Jess Thom has made a powerful statement, one which challenges conceptions of what theatre is, and what it can do.
Award-winning artist Bryony Kimmings’ first solo show in nearly a decade and the return of internationally-acclaimed physical theatre company Gecko will feature in Battersea Arts Centre’s Phoenix Season, celebrating the reopening of the Grand Hall, three years after the venue was devastated by fire.
Though a great opportunity to see/hear Beckett’s Not I in performance, the additional aspects of the event make this a rich experience of acceptance, learning and critical discourse. If only all theatre and performance could be like this.
As a show, The Shape Of The Pain is meticulously crafted, with Hannah McPake vividly conveying how fatiguing – mentally and emotionally – living with CRPS is.
The Drill is a compelling work from this young company quickly establishing themselves as one of the country’s leading company of theatremakers.
Combining their woman-led, political ethos with the use of live music, RashDash reclaims femininity and appropriates the traditionally patriarchal adventure of fairytales in this spirited show for all ages.
The performers are framed by a false, red curtained, proscenium arch that forms, like the show itself a facade: a description of something without being either of itself or the thing it describes. An hour and fifteen minutes runs with Robin Arthur and Cathy Naden taking turns to speak.
Utilising the concept of journey to inform both her form and content (personal and metaphysical), Frankland creates a cyclical style that moves in chapters (or rituals); first Salt, then Earth, Ink, and finally Clay.
The pitch blackness is simultaneously suffocating and comforting, with Chris Bartholomew’s highly orchestral, film-inspired composition gently easing the audience into the opening of Light.
The front of house staff are the lifeblood of any theatre, and for those theatres with ambitions to offer a space for people to be outside of theatre-going hours, they are its heart and soul.
“Don’t even think in your own language. English, all the time!” says Margaret Lovatt, a volunteer researcher in a NASA-funded project to teach Peter, a dolphin how to mimic and understand English. Led by John C Lilly, a neuroscientist at the California Institute of Technology, a dolphinarium was built and communication ‘training’ started.