The first short play is Beat the Devil in which David Hare stakes first claim to what will surely be a new genre or at least a familiar theme in the coming months – the Covid monologue.
In Miraculous, Borderline Theatre Company and the Gaiety Ayr have created a bouncy online version of David F Ross’ comedy caper novel about an Ayrshire band that once had an unexpected number one hit.
If you can afford your own private performance, Bard in the Yard is a wonderful, gentle re-introduction to live theatre and a reminder of why we love it so much.
I’m sharing the message that I’ve sent to Oliver Dowden, the Secretary of State for Digital, Culture, Media & Sport (DCMS).
Large West End production compan…
The Edinburgh Festival Fringe Society, the charity which oversees the Edinburgh Fringe, has been awarded £249,000 grants and a £1million interest-free loan to help support it through Covid-19 recovery.
Edinburgh’s Lyceum Theatre has entered a period of “hibernation” as a building-based producing theatre, postponing all 2020 shows and entering into negotiations with all staff over redundancies.
‘Theatre is everywhere. It is regional. It is rural. It is poor. Now it is in your front room, it can be from anywhere.’
‘I actually managed to be quite philosophical about it in the end. There’s a sense that we’re all in it today, and there are much bigger things at play, like people dying and getting sick.’
As the weeks of lockdown continue, with theatres up and down the country and around the world closed for the foreseeable future, I caught up with another artistic director, Anthony Biggs of west London’s Playground Theatre, to find out more how they were responding.
Weeks into lockdown, with theatres up and down the country and around the world closed for the foreseeable future, I caught up with the artistic directors of Cirencester’s Barn Theatre, Belarus Free Theatre and Pitlochry Festival Theatre. How are they being affected? Will they survive?
On the weekend of 14 March 2020, following the closure of theatre on Broadway (on 12 March), it became clear that something overwhelming was about to happen to British theatre.