Making theatre as diverse as possible is, I think, a work in progress. And progress is the operative word. I’m not advocating complacency. Of course there’s still much to be done but don’t let’s belittle the enormous amount which has already happened.
As Pegasus Opera prepares to stage it’s latest production, Shaw Goes Wilde, at the Royal Academy of Music, Artistic Director Alison Buchanan tells us about playing a character with dominatrix tendencies and how the opera world can learn from the success of Hamilton. Read her fascinating interview, then book your tickets for the production!
Two one-act operas based on works by George Bernard Shaw and Oscar Wilde will receive their UK premieres when Pegasus Opera Company brings Shaw Goes Wilde to the Royal Academy of Music later this spring. The double bill of works composed by Philip Hagemann play a limited run from 12 to 14 April 2019 , so book your tickets now!
In beginning conversations about theatrical diversity, theatres and critics alike need to recognise that we need each other. Looking for solutions together rather than attacking might be a more constructive route.
It is well worth making the effort to squeeze in a theatre trip this week, if you can. I’ve been raving about this show to anyone who’ll listen, now it’s your turn. If I did star ratings, I’d definitely give Schism 5 out of 5.
We need more representation from minority backgrounds, fewer white people, fewer middle/ upper-class reviewers, more representation from people with disabilities… If we don’t, theatre just will not change. And it must if it is going to have any kind of relevance.
Following critical and commercial success with last year’s Cinderella, QDOS Entertainment has again invested millions to make Dick Whittington the biggest, boldest and glitziest pantomime on the London circuit with what looks like a degree of overkill, taking a sledgehammer to crush a rat perhaps.
The Tradition versus Progress conflict sits along side the moral question of whether or not we should be perpetuating these attitudes in young children – who don’t know enough to see these problems – by continuing to tell these stories.
Joy, in which learning disabled characters are played by trained actors with learning disabilities, is a play and a directorial choice commendably at the forefront of diversity and accessibility, but like all vanguard work with no previous models to follow, it needs further shaping and development.
Kathy Burke is not a woman you’ll often see on the red carpet of a West End press night. She doesn’t enjoy the photographs and expectations that come with it, and she’d much rather see her comps go to those who are struggling to afford West End prices.
Emma Williams reunites with her Half a Sixpence co-star Charlie Stemp this Christmas for Dick Whittington at the London Palladium, where the pantomime cast also includes Julian Clary, Elaine Paige, Nigel Havers and Gary Wilmot.
Unfortunately, it’s a pretty terrible piece of theatre. The primarily verbatim script is the worst of racist Brexit voters pontificating on political issues interspersed with extracts of speeches by the likes of Michael Gove, Boris, David Cameron and Nigel Farage.
Fresh from Half a Sixpence, Charlie Stemp will join Elaine Paige and Gary Wilmot, along with the previously announced Julian Clary, Paul Zerdin and Nigel Havers in Dick Whittington, this year’s Christmas pantomime at the London Palladium.
There is an appealing simplicity to the narrative of Camus’s 1947 novel: originally set in Oran, in French Algerian, the book tells the story of a devastating infection that starts off slowly but eventually leads to social and economic crisis as the city gates are closed and its people become prisoners.
Satinder Chohan’s punningly titled Made in India, has been touring the country since January and now arrives at the Soho Theatre in London.
In 2012, The RSC drew ire for its Orphan of Zhao casting in which there were a whole three East Asian actors. Though the production went ahead, RSC artistic director Greg Doran showed willing to listen and bring about change.
Out of Joint, the new writing and touring theatre company, is committing to equal representation of female performers and writers.
An industry making resolutions? Now that’s something I can get behind – people working together for a common goal is what theatre is about, on a microcosmic level anyway, and more unity is surely a good thing in a world becoming increasingly polarised.
American, Pulitzer Prize-winning playwright Suzan-Lori Parks doesn’t shy away from epic projects. Six years ago, she wrote a play a day to create 365 Days/365 Plays, then went on to write the nine-part Father Comes Home From the Wars. Parts one, two and three centre around Hero, a strapping young slave on a remote Texan farm.
In a former ambulance depot in Tottenham Hale, Philip Ridley’s latest creation comes to life. This epic parallel world of wholly isolated nation states resembles the worst dystopias imaginable in contemporary fiction.
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