“A meaningful play about a really important subject”. As I left the Park Theatre having watched Eugene O’Hare’s play The Weatherman, these were the sort of (overheard) comments I heard. Unfortunately, I could not altogether agree.
Amidst editor Lisa Martland’s seven Top Picks from the last week of theatre are Libby Purves’ description of her blissful time at Nicholas Hytner’s immersive production of A Midsummer Night’s Dream at the Bridge Theatre and Aleks Sierz’s thoughts on the Kiln Theatre’s new opening, Samuel Adamson’s take on A Doll’s House in Wife.
A revival of the play Brexit at the King’s Head Theatre, Islington is very much of the moment and stirs some classic sitcom memories.
Last night I found myself both onstage and in the audience at the same time – neat trick if you can do it and I have done… on more than one occasion.
Rob Ellis directs Ollie George Clark’s new play called Cuttings at London’s Hope Theatre which examines the hitherto unexplored backstage world of theatrical PR – a world that has become increasingly important with the rise of online social media.
Inevitably writers will gravitate to the world they most often inhabit and about which they can speak with a degree of authority whether that be professionally, publically or privately.
It shouldn’t have surprised me (as a local) that I had never heard the Norfolk folktale of John Chapman, the dreaming pedlar who found a fortune buried in his garden and used it generously to restore his beloved town of Swaffham.