A constantly recurring theme as we hopefully start emerging from this pandemic — and even long before it actually happened — was about creating space for new voices and talents, and preferably younger and more diverse voices, whether as writers, directors, producers, designers, actors or even theatre critics.
In a feature for The Stage earlier in the week, Jessica Korvavos, president of Andrew Lloyd Webber’s Really Useful Group, was asked to sum up the last year: “A year when singing and dancing in public have been against the law? It’s been like a horrible dystopian cross between Footloose and Groundhog Day.”
Theatre may have migrated online for now (though here’s hoping that we’ll be back in the stalls and not just our armchairs or desks soon). Even though online theatre has created a much more level playing field in terms of opportunities for people and productions to be seen, with the smallest theatres like the Barn competing with the biggest like the National for audiences, star casting is STILL a thing.
In a free-for-all age of journalism, the currency of individual theatre reviews matter a lot less than they used to; all a theatre PR wants is a spread of five-star reviews, and they’re easier to summon than ever if you don’t look too closely which publications they come from. The general public won’t notice the difference, so its a bluff that often works.
Mark Shenton welcomes headlines featuring Stratford East, the National, the British Library and community involvement from Waterloo to Wales.
Last week I received a mysterious invite. “Please join us on 24 October 2018 for drinks to celebrate the launch of a radical new platform for theatre criticism,” it read. That’s intriguing, but not nearly so exciting as the next bit: “…and to find out about Lyn Gardner’s next step.”
Mark Shenton offers a wrap-up of news from the West End, Broadway and Edinburgh, including the West End transfer of Waitress, Edward Hall saying farewell to Hampstead Theatre and Laura Benanti joining My Fair Lady on Broadway.
Winners of the 2017 UK Theatre Awards have been announced, including two big wins for Sheffield Theatres’ musical premiere Everybody’s Talking About Jamie and its leading man, John McCrea, now heading to London.
Revival is a strange word. It suggests something rescued from its deathbed and shocked into fresh vigour by an infusion of talent, or money, or inspiration. In the case of I Loved Lucy, the corpse seems retrieved from the morgue only to die again in public.
The Stage has announced that theatre journalist and critic Lyn Gardner will join the newspaper as associate editor, including resuming her much-loved Theatre Blog recently axed by the Guardian.
The arts in the UK, across the UK and into every pocket of community and fringe, owes a great debt of gratitude to Lyn Gardner and her employers at the Guardian for believing in the importance of widespread reporting of emerging arts. Sadly that is about to change. Lyn continues to offer her wisdom and […]
A staging of 1973 Robert Redford/Paul Newman caper The Sting with its complicated and long-forgotten plot would need the smart and snappy treatment of Dirty Rotten Scoundrels to bring it to life, not this clunky, acoustically unbearable rendition which feels like an amateur production of Guys and Dolls without music or dance. At the interval, […]
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