My recent theatre trips have included The Rubenstein Kiss and Mary’s Babies. Here’s a round-up of my on-the-night reactions to each – plus a must-watch video review from my 82-year-old neighbour.
Mary Barton and her husband Berthold Wiesner ran a pioneering fertility clinic: they were among the first to offer, with full anonymity, artificial insemination by donor for couples they thought were “good stock”.
‘Sublime… mesmerising… captivating.’ What else have critics been saying about Maud Dromgoole’s new play Mary’s Babies, inspired by the shocking true story of fertility pioneer Mary Barton? We’ve rounded up review highlights below for the premiere production at Jermyn Street Theatre. Time to get booking!
Written by Maud Dromgoole and directed by Tatty Hennessey, Mary’s Babies looks at the ethical considerations of intrauterine insemination en masse, as well as its emotional cost. But first, some background history…
For the most part, though, Mary’s Babies is enjoyable and witty, and surprisingly easy to follow despite its complicated structure. A thought-provoking play, and an impressive feat of endurance and versatility from two talented performers.
Maud Dromgoole’s new play Mary’s Babies, just opened at Jermyn Street Theatre, looks at ethical and personal choices relating to genetics, family and donor conception. During the run, two post-show discussions involving two key organisations in the field will be held to explore some of the issues raised. Time to get booking!
Tonight’s the night! Katy Stephens and Emma Fielding star in the world premiere of Maud Dromgoole’s new two-hander Mary’s Babies, inspired by the true story of fertility pioneer Mary Barton. Check out our gallery of first-look production photos – and then get booking!
Tatty Hennessy and Maud Dromgoole’s last collaboration, Acorn, was a hit in 2016. Now, as her own play A Hundred Words for Snow continues to critical acclaim at Trafalgar Studios, Hennessy again dons her director’s hat for Hennessy’s provocative new drama Mary’s Babies officially premiering tomorrow at Jermyn Street Theatre. Watch our videos with Tatty and her stars below – and then get booking!
As previews begin tonight (20 March 2019) for the world premiere of Maud Dromgoole’s Mary’s Babies, at London’s Jermyn Street Theatre, sneak a peek inside the rehearsal room with stars Katy Stephens and Emma Fielding, who play 41 parts between them. Respect! Time to get booking!
Emma Fielding and Katy Stephens star in the world premiere of Maud Dromgoole’s Mary’s Babies, playing dozens of character who may all – unknowingly – be related. The premiere production, directed by A Hundred Words for Snow author Tatty Hennessy, runs at Jermyn Street Theatre from 20 March to 13 April, with a press night on 22 March. Time to get booking!
It’s all elegantly if slightly laboriously done in studied anachronistic style, delivered facing out to the audience as if emphasising precisely its decorative home.
A Woman of No Importance is the most Shavian of Wilde’s plays – in fact with a slight reshuffling of the cast the same company could present Bernard Shaw’s Mrs Warren’s Profession also produced in 1893 and wherein the same issue of parentage is concealed.
Can the theatre be a courtroom? A good public place to debate morality and to arrive at profound decisions? You could answer this with a history lesson that ranges from the ancient Greeks to more recent tribunal plays in the 1960s and 1990s.
If there’s a theme to the events of the past year – particularly the incidents in Westminster, Manchester, London Bridge, Grenfell Tower and Finsbury Park Mosque, but also the potential results of the Brexit referendum and Donald Trump’s ascendancy – “terror” may well be it.
Booking an interactive show in which we the audience get to play the role of the jury?
Using a gimmick to cover the business of reviewing the play….?
The Lyric Hammersmith today is pleased to announce the full casting for the UK premiere of Ferdinand von Schirach’s thrilling courtroom drama Terror, directed by Artistic Director Sean Holmes and designed by Olivier Award-winner Anna Fleischle.
Alice Birch’s third-wave feminist roller-coaster from 2014 is both thrilling and messy (mostly in a good way).
Scorching: A guttural call to arms, the Royal Shakespeare Company’s Revolt. She Said. Revolt Again. at the Traverse presents a broiling manifesto for feminist revolution.
Could ‘The King’s Speech’ work without Colin Firth? Would anything grow on theatrical ground already sprayed by Madonna in her shocking abdication movie ‘W/E’? In the movie I had found Mr Firth’s housewife-pleasing charms somewhat distracting despite his stock-in-trade diffidence, so the stage play is an opportunity to hear the story of the 1937 Abdication […]
The post Review: The King’s Speech (Richmond Theatre, London) appeared first on JohnnyFox.