“A gripping play” with performances that “shine” – Check out the stunning reviews for Lunatic 19s – A Deportational Road Trip. and discover why you should make a far more pleasant road trip of your own to see the show. Book your tickets now.
Neck braces, guns and lots of anguish – that’s what we initially take from Marian Medic’s new production images for Finborough Theatre’s world premiere of Tegan McLeod’s Lunatic 19s – A Deportational Road Trip. Check out the gallery, then book your tickets.
It’s not every day that you’re taught to deliver a knockout blow with the butt of a gun, or, at least, appear to convincingly do so, but that’s what’s been happening in rehearsals for the world premiere of Tegan McLeod’s Lunatic 19s – A Deportational Road Trip.
Lunatic 19s – A Deportational Road Trip, the new play from young American playwright Tegan McLeod will have its world premiere at Finborough Theatre next month. Time to book your tickets!
This pro-immigration, hip-hop reinvention of the all-American musical about a country gaining independence from a distant, tyrannical overlord resonates rather differently in Brexit Britain than it does in America. Forget the NHS bus – could Hamilton be the new symbol of the Leave campaign?
It can be tough to get kids to engage with Shakespeare. Many of them see the foreign-sounding language and old-fashioned stories as irrelevant to the issues they battle as growing up today.
As a play, there is so much in What Shadows that touches on and echoes today’s myriad trouble spots, it could hardly be more topical.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
A middle-aged, gay Welshman contemplates the English class he teaches in Hong Kong. Amongst the students is Windy, the Chinese woman with whom he shares his bed.
Unfortunately, it’s a pretty terrible piece of theatre. The primarily verbatim script is the worst of racist Brexit voters pontificating on political issues interspersed with extracts of speeches by the likes of Michael Gove, Boris, David Cameron and Nigel Farage.
As populism rises and fascists are tightening national borders with physical walls and stricter immigration regulations, the revolution is gaining speed. Theatre isn’t standing by, either.
Two women, in two different shows set on opposite sides of the world, swim as if their lives depend on it. One is training for an ironman-length triathlon, the other never learnt to swim and is doing so to overcome a fear of water. Equations for a Moving Body is Hannah Nicklin’s solo performance telling the story of her decision to complete an ironman.
Though this isn’t an “awareness” piece per se, the humanity and insight into transgender transition Rotterdam provides is hugely important and valuable.
Civil war is raging in the formerly united, newly named Kingdom. Loyalists and rebels have divided up the charred, frightened remains. Religious fundamentalism and capital punishment are the law of the land. There are furtive rumours of a better life across the channel, and there are regular passages to Calais. Money can buy passports, or if you don’t have any of that, there are people who will help you stow away as Cargo that you can pay later. But safety isn’t a given once you’re on board.
Romeo and Juliet gets a modern, interspecies remix by Rita Kalnejais in the south London-set First Love is the Revolution. Awkward, lonely Basti (James Tarpey) is trying to make the best of his teen years in a broken home when he meets Rdeca (Emily Burnett), a sassy fox cub hunting on her own for the first time.