The Susan Smith Blackburn Prize today announced 10 finalists for 2021 for its prestigious playwriting award, the oldest and largest prize awarded to women+ playwrights.
Hampstead Theatre, in partnership with The Guardian, is going to stream a series of hit productions from its digital archive for free.
Anne-Marie Duff returns to the Almeida Theatre to star in the world premiere of Beth Steel’s new play The House of Shades. Full casting for the theatre’s UK premiere of Daddy is also announced.
Nottingham Playhouse is delighted to announce Adam Penford’s first season as Artistic Director, including multi-award winning drama The Madness of George III starring Mark Gatiss.
This week the London theatre bloggers discuss The Emperor starring Kathryn Hunter at the Young Vic, Torn at the Royal Court and Beth Steel’s latest play at Hampstead Theatre, Labyrinth.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Drama about the 1970s and 1980s South American debt crisis is too long, too derivative and too predictable.
Hampstead Theatre announces its autumn season 2016 for the Main Stage, which will include new plays by Michael Frayn, Tony Kushner and Beth Steel.
Terri Paddock recently hosted a series of events alongside the play, The Father, at Trafalgar Studios. Included in these debates was one on whether enough is being done about gender inequality in theatre.
Though, sadly, I missed the discussion, I decided to collate my thoughts on how this impacts female playwrights, in particular, as it’s a subject that riles me enormously.
The platforming of female playwrights is, in some places, appalling and it continues to be a challenge across the board. We’ve all known this for a long time but, for me, the real nadir moment came when the National Theatre commissioned a play about feminism, Blurred Lines, and gave it to a man – Nick Payne – to write.
I mean, if women can’t even get commissioned to write a play about feminism, what hope is there?
When I saw Blurred Lines I was furious, my review on the Huffington Post leading to the NT press office to contact me. Well, they say you ain’t a proper critic till you’ve upset a press office so I guess you could say that was a coming-of-age for me personally. I don’t doubt Nick Payne’s talent but it angers me to this day that a play about feminism was given to a male playwright to write.
The National Theatre, of course, has previous when it comes to its preference for male playwrights, but it is not alone.
Last week, I sat down and went through the past productions list on the Old Vic website. In the past 10 years, the Old Vic has put on two plays written by women – TWO. Cloaca and Kiss Me, Kate. And that’s me being generous as Cloaca, written by Maria Goos, opened in 2004 – 11 years ago – and Kiss Me, Kate was co-written by Sam and Bella Spewack.
So actually I could conceivably claim that in the past 10 years, the Old Vic has not put on a single play written by a sole female playwright.
In all the #thankyouNick tweets that covered Twitter on Nick Hytner’s leaving the National, Alecky Blythe‘s London Road came up again and again as a highlight for many – a play that has now been adapted for the screen. As did Lucy Prebble’s The Effect, which won the Critics’ Circle Award for Best Play.
Another of Lucy’s plays, Enron, was a huge hit and won the 2009 TMA (Theatrical Management Association) Award for Best New Play.
Then there’s Lucy Kirkwood’s Chimerica, another critical hit, which walked off with the Evening Standard Award for Best Play. And the current holder of this year’s Verity Bargate award is a woman: Vicky Jones won it for her play, The One. Take a look at this year’s awards: we’ve got Jennifer Haley’s The Nether nominated for Best New Play at the Oliviers, Beth Steel won Most Promising Playwright at Evening Standard for Wonderland, an awards show that also saw The James Plays, written by Rona Munro, awarded Best Play.
The message is clear – if you give us the platform, we deliver.
So why aren’t female playwrights getting visibility? Can we reduce this to the simple thesis that theatre is a world dominated by men, and that men commission men? Well, no. It’s a lot more complex than that…
Terri Paddock recently hosted a series of events alongside the play, The Father, at Trafalgar Studios. Included in these debates was one on whether enough is being done about gender inequality in theatre. Though, sadly, I missed the discussion, I decided to collate my thoughts on how this impacts female playwrights, in particular, as it’s a subject that riles me …