Becoming Mohammed, in its story of a young white man’s conversion to Islam and the subsequent familial negotiations of his journey, not only adds to the diversity on the London fringe but reframes the stigma against white, western Christians converting to Islam, and the inherently peaceful nature of the religion.
Louise Orwin is asking big questions about female sexuality and desire, but she doesn’t have the answers. There are no definitive answers anyway, just individual experiences. To make Oh Yes Oh No, she interviewed dozens of women around the country and found some disturbing patterns.
As part of her post-show Q&A series, Mates co-founder Terri Paddock will host a post-show panel discussion on feminism and misogyny onstage following Lazarus Theatre’s re-imagining of Shakespeare’s The Taming of the Shrew at London’s Brockley Jack Theatre on Thursday 30 July 2017.
It’s hot. Real hot. And you’re dancing, just lost in music. You’re at the legendary Shrine nightclub in Lagos, where Afrobeat star Fela Kuti is king. It’s 1994. And it’s hot. Sweat is just pouring off you, no longer in little trickles but soaking through your clothes.
Dominic Cavendish can rest assured: he will not lose the opportunity to see his favourite (white) male actors in leading Shakespearean roles.
The late Clare McIntyre’s Low Level Panic has a great title for a 1980s feminist drama. In three words she presents the emotional landscape of her play: uncertain, edgy, angsty.
Sideshow/cabaret Dr Carnesky’s Incredible Bleeding Woman is a wonderfully quirky manifestation of sisterhood, womanhood and the wonders of the female body.
Phoebe Waller-Bridge’s television hit returns to the stage, still rocking with laughter and coolness.
Satirical rom-com show turns gender stereotypes upside down in a fresh and funny evening.
New play about a young working-class woman’s experiences in 1960s London is small, but inspirational.
New short play about sex and shame is partly a campaign tool and partly a plea for openness and understanding.
New epic about mothers and daughters in the age of oil is wonderfully ambitious, but deeply unhistorical.
New captive drama is well-written in a symbolic vein that helps to humanise the story behind the headlines.
I’ve always been most interested in telling stories I haven’t heard before. I get so bored and frustrated when I see a show that’s beautifully produced/designed/directed/written/performed but tells me nothing I didn’t already know, or shows me nothing I haven’t seen so many times over.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.