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.