American playwright Madeleine George’s acclaimed 2009 three-hander Precious Little gets its UK premiere at Brockley Jack Theatre, where it’s now running until 15 June 2019. We caught up with artistic director Kate Bannister about why she wanted to bring the play to London. Time to get booking!
We’re counting down to the London premiere of American playwright Madeleine George’s 2009 all-female three-hander Precious Little this week. While you were enjoying your Bank Holiday Weekend, sneak a peek at what the cast was getting up to in rehearsals. Time to get booking!
Award-winning American playwright Madeleine George’s 2009 play Precious Little gets its London premiere this week at Brockley Jack Studio Theatre care of the five-star and 15-time Offie-nominated in-house team behind recent productions of Kes, Lifeboat and The Wolves of Willoughby Chase. Time to get booking!
The Brockley Jack Studio is constantly offering interesting and challenging productions and Queen of the Mist is a must see for fans of musicals with a strong book as well as beautiful music and lyrics.
There’s something in the water with The Beggar’s Opera at the moment. Lazarus Theatre’s new, modern-dress, 80-minute version at Brockley Jack Studio Theatre is the third major London presentation of the story of womanising highwayman Macheath this year.
Political conflict, local gossip and an unstable economy threaten the foundations of family life in Better Together, the winner of the Brockley Jack’s annual new writing competition and festival. This modern, Scottish kitchen sink drama, like an updated Death of a Salesman, has sibling rivalry, the collapse of an entrepreneurial father who’s stuck in the past and a thematically complex story that mirrors the real family life in modern Britain. Excellent performances and a script instinctively following a course of intimate conflict make this play a true winner.
It’s purely anecdotal, but it feels like one-person shows have become vastly more popular over the past few years. It makes sense: they’re cheaper to produce, easy to tour, give theatre makers autonomy, often experimental in form and a great way to hone performance skills. They’ve quickly become much more sophisticated, are moving away from their performance art roots and can be about anything.
What’s the difference between political theatre and theatre about politics? Can theatre be a catalyst for real change? Do right-wing political perspectives get a fair hearing onstage or is theatre the preserve of the left-wing? And how much does modern political theatre owe to Bertolt Brecht?
If theatre is a mirror held up to the world, then evidence is increasing that change is imminent. But what form will it take? Will the people rally as in The Caucasian Chalk Circle or will we either sell out or run away from it all like Nick or Johnny? Only time will tell.