During a 90-minute livestream, viewers were treated to some iconic performances from around the world in isolation.
Our Walk Through the World is a collection of six sharply written, short plays by Ross Howard that highlight some of the absurdities of modern life.
Mary Jane Figtree’s play is based on the concept of an Italian 90s play called Orgasmo e Pregiudizio. With this, her first play, she has written something that succeeds in being both funny yet emotionally resonant.
The Geminus is an atmospheric new play by Ross Dinwiddy and is based on Joseph Conrad’s novella The Secret Sharer. By incorporating a romantic twist, Dinwiddy creates an emotional centre to the piece, which is so important when translating prose to the stage.
One thing I’m really loving about the Camden Fringe is the breadth of creativity and experimentation. Scenic Reality is a prime example of a fresh piece of new writing that explores different storytelling techniques.
suspect this show will have a future, evolving life, and it is well worth checking out if it appears on your radar. I’d certainly be interested in seeing what they do with it next.
Full disclosure, I was not excited about seeing a show about Boris Johnson. Frankly I’m feeling a tad Boris-ed out these days, but fortunately, given a lively and plentiful audience, not everyone seems to be turned off by the subject matter.
This year I have the great privilege of getting to cover lots of the Camden Fringe shows, my only regret is that I can’t see them all (literally impossible, so many shows running, Londoners check it out, it is a treasure trove of varied goodies).
Trafalgar Studios seems to be mopping up the cream of the crop of smaller space transfers. There is definitely magic in the water there at the moment, as I’m seriously pining to see both of the shows they have on: Dust and Arinze Kene’s Misty.
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.
When it comes to booking theatre tickets I’m a bit of a control freak. For my favourite venues, I have definite seating preferences that combine my desire to be as close to the stage as possible and affordable ticket prices.
Today is the first day of a new year, and 2018 is the year I will have to scale back my theatre going (it was getting ridiculous to be fair). So I’m going to have to be a lot more selective about what I see.
As a functioning theatre addict I clocked up 145 different shows in 2017. Which is no mean feat as my amateur status means I paid to see all these shows (as this is an unsustainable addiction, 2018 is gearing up to be much quieter).
‘Tis the season to be jolly… so what could be more jolly than a trip to see some circus? Here’s our video round up, with some holly on top!
I’ve been thinking a lot lately about the sensuous experience of watching a circus show, and how reviews – coming generally from a theatrical tradition – usually privilege the conceptual meaning of a production over the sensational meanings written through our physiological responses. This is an attempt not to do that!
It remains my favourite of Shakespeare’s plays (Much Ado leading as my favourite of his comedies) and I have avidly collected productions the way others might collect stamps.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Last Friday night I had the great pleasure of seeing Ian McKellen’s show at the Park Theatre, followed by tapas with the fabulous man himself. It was a wonderful night from start to finish.
Here I wanted to focus on 4 brilliant musicals I think are particularly exciting, that you could go see: Roller Diner (Soho Theatre), La Strada (The Other Palace), Our Ladies of Perpetual Succour (Duke Of York’s) and These Trees Are Made of Blood (Arcola).
The front of house staff are the lifeblood of any theatre, and for those theatres with ambitions to offer a space for people to be outside of theatre-going hours, they are its heart and soul.
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