I see a lot of theatre productions, obviously, and whilst I still enjoy seeing new shows, new ideas and a creative piece that is genuinely exciting, I am starting to feel apathetic to much of what I see.
Though at the moment it looks quiet, I have finally got a draft schedule together for my time in Edinburgh, and it seems as if my plan to ease myself in has just gone out of the window… It’s going to be a hectic week for me up there, but it has to be done!
Love London Love Culture rounds up the reviews of Nina Raine’s latest play Consent at the Harold Pinter Theatre.
It’s been a bumper week for rape. Harvey Weinstein was indicted. Tommy Robinson was jailed for filming the accused in a grooming gang trial outside Leeds Crown Court. The world’s most durable feminist Dr Germaine Greer told Hay Literary Festival that most rape cases were ‘just bad sex’ rather than serious crimes, and in Connecticut a man got his cock out in court to prove it didn’t match his accuser’s description.
Clare Foster, Lee Ingleby and Thusitha Jayasundera have joined Claudie Blakley, Stephen Campbell Moore, Heather Craney and Adam James in Nina Raine’s Consent at the Harold Pinter Theatre from18 May 2018.
The National Theatre production of Nina Raine’s Consent will transfer to the West End, following the 2017 critically acclaimed sell-out run at the Dorfman Theatre.
I’m not usually crazy about rankings and hierarchy in the creative arts so, please, see this as more of a summary of all the shows that really shook me. Except for the Number One. I’m all about cheerleading that star at the top of my own personal Christmas tree. But I loved each of these shows and, if you caught them, I hope you did too.
Frankie Meredith’s script has a solid, viable core, but the short, episodic scenes spanning a long time period make for a skeletal whole that feels like the first act of a longer play.
Rape culture is real. Victims are blamed, perpetrators are excused and conviction rates are low. Of reported rapes – estimated to be less than 20% – only 3% are deemed to be false accusations.
Deciding what is best is a tricky thing to do. It’s particularly difficult if you’re trying to do what is best for someone else. How do you know if you’re doing the right thing? Is your aim and end admirable but your means slightly suspect?
Louise Orwin is asking big questions about female sexuality and desire, but she doesn’t have the answers. There are no definitive answers anyway, just individual experiences. To make Oh Yes Oh No, she interviewed dozens of women around the country and found some disturbing patterns.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Nina Raine’s new play is now playing at the National Theatre, starring Anna Maxwell Martin. But what have critics been saying about it?
It’s black and white – no means no. That should be enough right? Except all too often, sadly it isn’t, and the many different ways in which this is true form the bedrock of Consent, Nina Raine’s new play for the National Theatre, co-produced with Out of Joint.
Rape is such a serious social issue that it’s hardly surprising that several recent plays have tackled it. I’m thinking of Gary Owen’s Violence and Son, James Fritz’s Four Minutes Twelve Seconds and Evan Placey’s Consensual. All of these discuss, whether implicitly or explicitly, the notion of consent, which is the name of playwright and director Nina Raine’s latest drama about the subject.
The National Theatre has announced programme details for its new season running from April to November 2017. In addition to the two inbound political plays heading for the West End – the European premiere of Broadway hit Oslo and the staged reading All the President’s Men? – Scenes from the U.S. Senate’s Confirmation Hearings, reported here – highlights include: Jane Eyre returns, following an acclaimed …
When a topic is painfully current and theatre plunges in, the heart does not always sing with optimism. But Nina Raine is an old hand, and knows how to make a play work without a virtuous political clunking. Acid-sharp, observant and pitiless this one is as much about normally ghastly marital behaviour as about the drunken-rape case and trial which flashes, with fierce drama, through its core.
Out of Joint, the new writing and touring theatre company, is seeking an experienced theatre director to work alongside founding Artistic Director Max Stafford-Clark and Producer Martin Derbyshire as the company’s joint Artistic Director.
The National Theatre has today announced dates and further details for upcoming productions in its 2016-2017 winter season, including: Simon Godwin directs a cast including Tamsin Greig in Twelfth Night by William Shakespeare, opening in the Olivier Theatre on 22 February. Ugly Lies the Bone by Lindsey Ferrentino makes its European premiere in the Lyttelton Theatre in March 2017, with …