“A play I won’t forget.” Can you ask for more as an audience member than a play that has such an impact that the memory sticks with you. This is the effect The Project is having on reviewers. We’ve collected some of the best together – see what they say, then book your tickets!
New drama The Project takes audiences inside World War II transit camp Westerbork, which held many of Europe’s most lauded cabaret artists of the time… and encouraged them to perform on a weekly basis. As it takes to the London stage , we take you inside rehearsals to see what the cast have been up to.
During World War II, the inmates of Westerbork transit camp were permitted to stage a weekly cabaret performance… just hours after 1,000 of their friends and neighbours had left on a train destined for Auschwitz. Playwright Ian Buckley tells us about the camp that housed many of Europe’s finest performers of the time and how it inspired his latest play, The Project.
Inspired by true events, Ian Buckley’s latest play, The Project, tells the story of an unusual World War Two transit camp where tragedy and cutting-edge entertainment meet. It receives its world premiere at the White Bear Theatre later this spring, running from 5 to 23 March 2019.
The inter-continental spectacle of Circus 1903 is a nostalgic dream of popular imagination, merging half-remembered histories with modern-day acts more usually seen inside a Big Top or dedicated circus building than in the theatres receiving this tour.
My hope of ever witnessing a true revolution for women in theatre began to disappear over the last year – until Emilia at Shakespeare’s Globe.
In his audacious new play Devil With The Blue Dress, Kevin Armento examines five women’s accounts leading up to – and resulting in – President Clinton’s impeachment in 1998.
The story is set in 1930’s America, where Blueberry the clown has just been left by his wife. He takes us on a journey of redemption, knitting his memories with an honest reflection of his present.
Elizabeth Chan’s performance as Iris Chang in Into the Numbers is a convincing portrayal of mental illness but the lack of background to her story doesn’t give the gravitas this production deserves.
To draw a circus map of Britain today, we can no longer just look to the fields and hard-standings where tenting companies pitch, but must also peek behind the walls of theatre buildings and training spaces, and into other open spaces of festivals and street performance.