After a sell-out run at this year’s Edinburgh Fringe, Taggart creator Glenn Chandler’s new, award-winning stage play KIDS PLAY transfers to London’s Above the Stag Theatre this week, for a strictly limited season, with a new cast. Despite the title, this is very much not a children’s show! Time to get booking!
Fresh from the Edinburgh Fringe, The Political History of Smack and Crack draws on writer Ed Edwards’ own experience of narcotics dependency to examine how the politics of the 1980s trapped people in poverty and addiction. Here the former circus performer talks about the importance of entertainment in theatre ahead of the play’s London run at Soho Theatre.
Toby Marlow and Lucy Moss have created something truly special here in Six – a complete one of a kind, act of genius. Who knew history could be so entertaining? Seeing is believing though, so don’t take my word for it, go and see it for yourself.
August was dominated by Edinburgh for me but the London theatre wheels were still turning; here’s my round up of my favourite bits of news, my theatre hits and misses and few celeb spots…
The Pint-Sized Playwriting Podcast exists to help emerging playwrights understand how to get ahead in the world of new theatre. This latest episode is with the brilliant George Warren of Metal Rabbit. It’s produced by Olly Jaques.
Theatre is supposed to reflect society, challenge and change but how can it do that when its programming doesn’t fully embrace the full gamut of ethnicity, sexual orientation and balance of gender?
David Ireland’s play Ulster American, about a Hollywood actor arriving in Britain to play the lead in a play by an Ulster Protestant writer, is a riot.
I booked my ticket for Penelope Skinner’s new play, Angry Alan, before the Fringe started and it has subsequently won a Fringe First Award which raised expectations – and it didn’t disappoint.
DUPed is a low-key but important monologue, fascinating in itself but something that also feels like the notes for something bigger to come.
I walked out of Queens of Sheba feeling a bit teary in a kind of happy/sad/exhilarated way. It’s the first Fringe play I’ve seen that has evoked such a strong emotional response.