“I’ve got two dads.” Playwright, actor and spoken word artist David Judge’s latest play SparkPlug is inspired by autobiographical events: his mother is white, his biological father is black, and the father who raised him is white.
You’d need a heart of stone not to be charmed by the gentle joys of Guess How Much I Love You. Sam McBratney’s modern classic bedtime story gets the theatrical treatment thanks to established touring company Selladoor, and the result is a real delight.
One of Liverpool’s widest-reaching and most creative theatre companies, physical theatre specialists Tmesis, is returning with its latest show Beyond Belief.
Season six winner Bianca can fill theatres all over the world with her one-woman shows, she made her own movie Hurricane Bianca, and famous fans include Graham Norton and the late Joan Rivers.
A few months ago when Arts Council England announced their funding allocation for the next four years, one of the shocks that came out of it was the dropping of Liverpool’s MDI as a National Portfolio Organisation (NPO).
Cartoonopolis was first performed in the Playhouse Studio a couple of years ago, where it came into existence thanks to actor Lewis Bray’s involvement with YEP [Young Everyman and Playhouse]. Along with Matt Rutter and Chris Tomlinson, that company’s artistic director and associate director respectively, Bray’s fledgling idea – to do a play about his brother’s autism – began to take flight.
LEAP – Liverpool’s only annual festival of contemporary dance – shines a light on the city’s ‘invisible art form’ as part of its 25th anniversary celebrations this year.
The story starts in 2009 with Paul, a fortysomething professional who works in computing, returning to his home town, Skelmersdale, a 1960s overspill from Liverpool. Now living in Dublin, he’s come to see his mother, Hazel, who migrated to Britain from Ireland because she was an unmarried mother.
New play about two friends who grow up together is well structured, if a bit slender.
The Secret Life of Mia is a promenade performance aiming to its audience on an intimate journey into the secret world of women starving for beauty. It runs from 6 to 10 October in Liverpool with several performances each day; and from 18 to 26 October in St Helens.
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Suzan Holder is the writer of Shake It Up Baby, one of the plays in this year’s Ticket To Write festival coming to the Unity Theatre in Liverpool next week. The festival’s artistic director Francesca Goodman and producer Max Emmerson are both up-and-coming talents to watch, since their acclaimed revival of Shout: The Mod Musical made it from LIPA, to the Edinburgh Fringe, then on to the Royal Court earlier this year.
“People who want ‘traditional’ Shakespeare – I don’t know what that is,” laughs Nick Bagnall. “I like to think if Shakespeare was here today he’d be using all he possibly could to be telling stories. When he was around, there was music, song, dance, audience interaction, all of it, he was always playing with theatre.”
After playing Australia, New York’s Off-Broadway and to great acclaim at the Edinburgh Fringe, Lennon: Through A Glass Onion, written and directed by John Waters, comes to Liverpool for a two week run at the Epstein Theatre – and as rightfully site-specific locations go, it doesn’t get much better than this.
Written and performed by Aizzah Fatima, Dirty Pakistani Lingerie finally landed in Greater Manchester last week after a considerable tour around the globe.
Ever since Garbo leaned against the door-jamb of her luxury suite and murmured ‘I want to be alone’, the glamour and intrigue of Grand Hotels has captured public imagination. In Liverpool, the landmark Adelphi Hotel had its profile boosted by carriage trade from the ocean liners arriving from the New World and statesmen, gangsters and […]
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