I have become obsessed with where the money goes in The Money Live. When my neighbour Charlotte and I attended the “part game, part moral debate, part theatrical experience” earlier this week, the cash pot (initially £296, reaching nearly £400 as more ‘silent witness’ audience members paid a £20 upgrade to join the action) rolled over as no unanimous decision was agreed.
“Jekyll is the most narrative-driven game we’ve done so far… We wanted to see if we could do something where the story itself is the thing that compels you to keep on moving forwards.” The team behind immersive game Jekyll / Hyde told A Younger Theatre about their groundbreaking new Vault Festival show. Take a look at what they had to say, then book!
Can you get away with murder? That’s the question being asked of players of monstrously exciting new immersive game Jekyll / Hyde, which runs at VAULT Festival next month. Time to book your ticket!
Guided by a web app, participants have 80 minutes to earn as much money as possible by answering cryptic puzzles. They must choose what equipment to spend their cash on before returning to the meeting place.
I have reservations as soon as I walk into bluemouth’s new immersive party show at the Wee Red Bar. Primarily because there aren’t many people there – never a good sign for a party.
What happens when two experimental performance artists join forces with a few kids to make a kids’ show? Utterly delightful, if messy, madness. 1990s Nickelodeon is a clear influence, as are fart jokes, poo, time bending and parallel universes.
Sion Daniel Young is Davey, a fifteen-year-old tearaway who roams the streets looking for trouble. A traumatic incident several years before, severe poverty and a well-intentioned but clueless mum means he channels his anger into violent bullying.
Imagine a production of Waiting for Godot with more characters, set in space, where the audience chooses the outcome of the story. What you are picturing is probably gloriously weird and kitschy.
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.
Hartleby, Ooglemore and Jeramee are at the beach. It’s a beautiful, sunny day and the three are having a grand time, even though they can only use three words. The beach is full of potential for adventures – some happy, same scary, some frustrating.
Gravity & Other Myths‘ A Simple Space is just that – a small grey square, framed by an audience who are up close and friendly. The space is built, dismantled and reconstructed by an architecture of people who pile, climb and weave their bodies into towering structures.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Amy Fleming’s dad committed suicide when she was four years old. Fleming struggles with mood swings and wonders if she’s “mental,” like her dad. Luckily, she studied Molecular Medicine before becoming an actor so she understands how genetics dictates our characteristics. She also knows that talking about our problems and developing positive habits helps us overcome them.
Four hundred years ago this April, Shakespeare died. A bunch of academics decided to take advantage of this bizarre anniversary and launched Shakespeare 400. It’s a great excuse for a nationwide Shakespeare celebration, but few of the involved events appear to acknowledge that the celebration is of his death and that he most definitely would write no more. Shook Up Shakespeare hasn’t let this fact bypass them, though. Their 45-minute Shakespearian cabaret mash up, Shakespeare As You (Might) Like It, is a quad centenary wake celebrating some of the Bard’s best female roles and the chaotic spirit of Elizabethan and Jacobean performance conventions.