I may be woefully behind on my show write-ups, but I couldn’t not mark The Show Must Go Online coming to an end – at least until further notice.
At a time when hatred seems to be the new norm (whether antisemitism, homophobia, or literally anything else), narratives like those discussed in Little Wars are more important than ever.
Viper Squad is a highly entertaining and thoroughly engaging piece of interactive Zoom theatre, providing human connection and a welcome sense of escapism.
I’ve really admired the work of Sydney Aldridge throughout the course of The Show Must Go Online, so who better to talk to about casting and her experiences with this innovative Zoom theatre project?
From Rome to the Forest of Arden, as The Show Must Go Online next tackles As You Like It.
I’m running out of superlatives for The Show Must Go Online. Each show is exceptional, including the latest staging of Henry V, and manages to improve upon the previous week in as many ways as possible.
Platform 4’s Invisible Music presents a beautiful and thought-provoking soundscape that is a wonderful manifestation of creativity in this period of isolation.
Nigel Slater’s Toast is a top quality production full of heartwarming moments and alimentary temptations – grab yourself a Walnut Whip and make yourself comfy.
Writers Henry Roadnight and Adam Johnson have set about adapting their musical Third Wheel into an online production.
Actress Lucy Aarden is part of #IsolationEnsemble, a company formed by director Abbie Riddell to raise urgent funds for theatres across the UK.
Reading that the Globe may struggle to come back from this current crisis without the help of donations and emergency funding didn’t seem quite real.
The Show Must Go Online was firmly back in history mode with the beginning of Shakespeare’s second tetralogy in Richard II. Not quite as much bloodshed as the previous set of histories that we’ve seen – more posturing and challenging than anything.
I posed some questions to The Show Must Go Online returnees Luke Barton, Kristin Atherton, David Johnson and Lucy Aarden about their experiences with this weekly lockdown hit.
Last week was Shakespeare’s birthday, so The Show Must Go Online went all out with their latest production, holding a Titus Andronicus party in the Bard’s honour.
It feels slightly odd that my final show before the curtains came down wasn’t a play or musical – instead, it was a dance show.
Following on from the instant success of National Theatre At Home streaming event, it’s got me thinking about all the other wonderful NT Live screenings that I’d love to come to the small screen as part of this series. I have narrowed it down to my top 10.
The success of Show Must Go Online’s engrossing The Taming Of The Shrew is a real credit to the company’s creativity and the magic of this emerging art form.
Last week saw the first production of The Show Must Go Online, a series devised by Rob Myles (who Mind the Blog regulars will recognise from Merely Theatre’s Twelfth Night and his insight into Shakespeare dramaturgy) which will bring a different Shakespeare play to YouTube each week with a rotating cast of actors.
Can I Help You? is a sensitively and engagingly performed play that tells an all-too-familiar tale of the battle for hope when all seems lost.
In our continuing series, editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 1 March 2020), ranging from Love London Love Culture’s thoughts on David Mitchell’s West End debut in the stage adaptation of TV favourite Upstart Crow at the Gielgud Theatre.