There is fine work from Jodie McNee as Johanna Faustus in Faustus: That Damned Woman but the piece is overshadowed by a disappointing structure that sidelines real, factual female achievement in praise of the patriarchy.
In opening-up the female experience of the era in Faustus: That Damned Woman, Chris Bush reinforces the decision to switch the gender of the central character.
Rachel O’Riordan’s debut season as artistic director at Lyric Hammersmith continues this month with Faustus: That Damned Woman, a co-production between the Lyric and Headlong, in association with Birmingham Repertory Theatre.
Headlong has announced its programme for 2020/21, the final season under current artistic director Jeremy Herrin.
Rather tickled that no less than the artistic director of the National Theatre Rufus Norris himself does time out of his hectic schedule to answer Ten (9) Questions for Ten Years.
Where were you 10 years ago?
I’d just directed Death and the King’s Horseman by Wole Soyinka in the Olivier Theatre.
Best show you’ve seen in the last 10 years?
An impossible question to answer but if I had to pick one it would be Pericles (Public Acts) in the Olivier last year.
What has been your professional highlight of the last 10 years?
Becoming Director of the National Theatre and London Road.
Top flavour of interval ice-cream?
What show do you wish theatres would give a rest for a few years?
Many plays have the potential to be boring or resonant so it’s the creative team’s role to bring a play to fresh life.
Name someone who you think is a really underappreciated talent (in the world of theatre)?
There are so many unsung heroes working within theatre, from the technical teams behind-the-scenes making magic happen on stage, to those ensuring the smooth running of a building, I’m always amazed by their commitment. A few people who come to mind are Erin Lee in Archive, Nicky Holderness in Props and the set builder Simon.
What is one thing that you think would help theatre survive and/or thrive the next ten years?
An education system that recognises the huge benefit that only the arts can deliver, and a shift in philosophy that correctly views subsidy as investment for the good of this country.
Which is your favourite theatre?
The National Theatre, of course. I also love the Royal Exchange in Manchester.
Can you say anything about what’s to come for you, (in the next ten years or otherwise)?
Loads of plays including our next Public Acts show As You Like It with a cast of 100 community members at the Queens Theatre in Hornchurch. Hopefully a little time spent in nature in between.
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Mark Shenton rounds up news, reviews & tweets of the week from London, New York & beyond including a life-size first birthday cake of John McCrea at Everybody’s Talking About Jamie and the opening of King Kong on Broadway.
Rebecca Scroggs is currently starring in Chris Bush’s new work Steel, examining women in politics. She spoke to Love London Love Culture’s Emma Clarendon about the play…
What is a national theatre for? You’d be forgiven for answering ‘complaining about’ given the amount of sniping regularly aimed at the institution. But with the launch of Public Acts, the National Theatre’s new national initiative, you feel that they’ve alighted on the answer.
Sheffield Theatres’ new season includes Standing at the Sky’s Edge by Michael Wynne, with music and lyrics by Richard Hawley; A Midsummer Night’s Dream directed by Robert Hastie with music by Dan Gillespie Sells; and this year’s Christmas musical Kiss Me, Kate.
The Assassination of Katie Hopkins, a new musical from Chris Bush and Matt Winkworth inspired by the controversial tabloid columnist and conservative provocateur, will receive its world premiere at Wales’ Theatre Clwyd
Artistic Director of Sheffield Theatres Robert Hastie has announced his inaugural season for 2017, which includes, at the Crucible, his own productions of Shakespeare’s Julius Caesar and The Wizard of Oz, major class revivals of Desire Under the Elms and Uncle Vanya, two world premieres and a regional premiere.
Artistic Director of Sheffield Theatres, Daniel Evans, today announces the company’s most ambitious season to date, including the premiere of new musical Flowers for Mrs Harris and Richard Bean’s new comedy thriller set in the world of snooker, staged just before the annual World Snooker Championships at the Crucible in April