Writer and actor Henry Shields chatted to Emma Clarendon about all things Mischief Theatre including the company’s year long season at the Vaudeville Theatre.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Adapted by Caridad Svich from Isabel Allende’s award-winning novel and directed by Paula Paz, The House of the Spirits is as much the history of a nation as a family drama. While the country of the play is ‘unnamed’, for those in the know the parallels…
Adapting a multi-generational family saga for the small stage takes ambition, confidence and knowing just where to cut, The House of the Spirits has all three covered.
Caridad Svich’s excellent adaptation of Isabel Allende’s 1982 modern classic The House of the Spirits is an epic and emotional evocation of South American history.
Director Indhu Rubasingham spares us none of the rage and horror of violent mutilation as male anger rises against women who are educated in Anumpama Chandrasekhar’s play When The Crows Visit and – this makes you wince – of female complicity in the middle and oldest generations
Sarah Rutherford’s powerful and honest play The Girl Who Fell examines grief, mental health and the influence of social media in a brilliantly sensitive way.
Groan Ups has hamster substitutions, unexpected subtler laughs and a moment of real pathos before it swizzles into something more poignant.
Glenn Chandler focuses on events that haven’t been spoken about for many years in The Good Scout and in the process a charismatic cast reveals an extremely interesting twist in history.
This very well presented version of The Merchant of Venice is excellently executed, proving to modern audiences that Shakespeare doesn’t have to be complicated in order to understand it.
One might be forgiven for thinking that Danelaw would be unrelentingly bleak, but in truth the play is a satire and doesn’t avoid the more absurdist elements of storytelling.
With Go Bang Your Tambourine, the Finborough Theatre has once more succeeded in digging out a purportedly dated play and bringing it to life in a manner which is faithful to the playwright but does not alienate a modern audience. Kudos to them.
Anna Ziegler’s Actually is a journey into sexual consent, following a drunken hook up of two college students, and the different perspectives on their encounter.
First performed in 1970, Tricia Thorns’ revival of Philip King’s Go Bang Your Tambourine is remarkably the first time the play has ever been performed in London
Actually is a complex play that explores more than consent, it raises questions about attitudes towards sex and relationships, race, religion, upbringing and family.
Actually has its issues as a drama and the heavily discursive competing narratives approach limits how the play is staged that can feel repetitive at times, but Ziegler has created a scenario and two complicated people who feel credibly drawn.
The performances are the strongest feature of this production of Crystal Clear at the Old Red Lion Theatre, along with its access provisions.
Actor Philip Mansfield chatted to Emma Clarendon about playing Doctor Watson in Sherlock Holmes & the Invisible Thing at the Rudolf Steiner Theatre.
Adapted for the stage by Feargus Woods Dunlop, The Falcon’s Malteser captures the spirit, humour and element of excitement that exists in Anthony Horowitz’s stories with great success.
Director Lee Lyford has bought together a fine mixture of comedy, family fun and mystery to this adaptation of Anthony Horowitz’s The Falcon’s Malteser.