Wise Children, Kneehigh and Bristol Old Vic have announced dates for the digital tour of Daniel Jamieson’s The Flying Lovers of Vitebsk directed by Emma Rice. The production will feature Marc Antolin (Marc Chagall) and Audrey Brisson (Bella Chagall), reprising their roles from the original staging. The production will be performed at Bristol Old Vic, and broadcast live to audience’s homes nationally and globally from 3-5 December 2020.
More than 1,300 arts and cultural organisations have benefited from a share of £257 million as part of a vital financial boost from the Government’s £1.57 billion Culture Recovery Fund.
Romantics Anonymous is a story predicated on equality, mutual support and finding your own path as individuals (and as a couple) rather than waiting for someone else to come and save you from your life – implications that after years of rom coms and social messaging is subtly but usefully employed through a charmingly conceived but nonetheless carefully structured story.
Feelgood musical Romantics Anonymous at Bristol Old Vic certainly works on both the level of a light confection and something more robust for the committed chocolatophile/musicophile.
Wise Children, Bristol Old Vic and Plush Theatricals has announce that Emma Rice’s critically-acclaimed Romantics Anonymous will be performed live to a socially distanced audience for the final performance of their ‘digital tour’ on 27 September 2020 at Bristol Old Vic.
Wise Children, Bristol Old Vic and Plush Theatricals have announced that Emma Rice’s critically-acclaimed musical adaptation of Romantics Anonymous will be performed at Bristol Old Vic, and broadcast live, direct to audience’s homes nationally and globally.
There was a blow to any producers planning socially distanced indoor performances from 1 August 2020 when prime minister Boris Johnson announced that the easing of restrictions on theatre and music venues, amongst others, had been delayed to 15 August.
There is one emotion that we all feel that can link to other types of emotions: grief. From love to anger it pushes all other emotions to the brink and this is what A Monster Calls portrays so beautifully.
‘Theatre is everywhere. It is regional. It is rural. It is poor. Now it is in your front room, it can be from anywhere.’
“As soon as the theatres closed in the week of 16 March 2020, we thought ‘we need to remember we’re a theatre and think about what our role in relation to the city might be in this strange world’.”
The problem with staging a classic novel is that everyone has a slightly different view of how it should be done – many have tried and few have fully succeeded.
For every introverted socially awkward nerd Romantics Anonymous feels like seeing your fears and secrets on stage without being mocked.
Mind the Blog has a fairly wide-ranging wish list of things I hope to see, including major shows such as Sunday in the Park with George, Evita, Magic Goes Wrong, Uncle Vanya and the Jamie Lloyd Company residency at the Playhouse Theatre.
Looking ahead to some of 2020’s exciting shows, most with an emphasis away from the West End and instead focusing at the London Fringe and across the UK.
David Greig’s much-lauded mountaineering survival story fails to reach the dizzy heights.
It’s only when the location moves to the battlefield and the production is allowed to breathe and the poetry to sing that this production of Cyrano finally begins to come into its own.
Much like Six, that pushes King Henry to the sidelines to place the spotlight on his long-suffering wives, here the Bennett sisters get to take complete ownership of the stage and the story they tell in Pride and Prejudice* (*Sort Of).
It may not be a piece that shakes you, but in bringing the words of Keith Douglas to its audience, Sheers has proved a willing literary executor.
Sally Cookson’s National Theatre and Bristol Old Vic production of JM Barrie’s classic story Peter Pan officially opens the Troubadour White City Theatre, where it’s booking until 27 October 2019. Love London Love Culture rounds up the reviews.
The Malory Towers company deserves great plaudits for putting their all into such a high-intensity show; it’s a charming piece but one that undoubtedly feels like minor-key Rice.