If you had to choose just three Hollywood legends to build a theatre show around, who would you choose? For Sirens of the Silver Screen, Beth Burrows selected Judy Garland, Audrey Hepburn and Marilyn Monroe. At last week’s post-show discussion hosted by MyTheatreMates’ Terri Paddock at the Tabard Theatre, she explained why she did, how much fun she had researching each and to which she feels most connected.
Following a successful run last November at Highgate’s Upstairs at the Gatehouse, Beth Burrows’ one-woman cabaret Sirens of the Silver Screen has transferred to west London’s Tabard Theatre, where it continues until 14 July only. We’ve rounded up some of our favourite review highlights below. Time to get booking!
An insight into the stark realities of the film industry, the Finborough Theatre’s production of Finishing the Picture is a perfect mix of grit and comedy.
After a successful production last year with Arthur Miller’s Incident At Vichy, director Phil Willmott returns with another one of Miller’s plays – this time one of his lesser-known works. Paradoxically, it is of more possible interest than the rest of his canon…
Of all the Hollywood Golden Age legends, Beth Burrows chose Judy Garland, Audrey Hepburn and Marilyn Monroe to celebrate in her acclaimed one-woman cabaret Sirens of the Silver Screen. In our latest in our Featured Show series, she explains what she’s found most inspiring and surprising about each – and shares her favourite signature songs for all three.
As part of her ongoing post-show Q&A series, on Thursday 5 July 2018, Mates co-founder Terri Paddock heads to the Tabard Theatre in Chiswick to talk to Beth Burrows about playing Judy Garland, Audrey Hepburn and Marilyn Monroe in her hit one-woman cabaret Sirens of the Silver Screen. Got any questions?
Set during JFK administration, this new musical by Lizzie Freeborn, at the London Theatre Workshop, is set in The White House and looks at the staff in-house at the time of the sexual scandal set by JFK himself and Marilyn Monroe.
st as playwright James Graham has made a name with plays based on recent real events with a political dimension, similarly, a recurring theme within Terry Johnson’s oeuvre is the untold story of famous people
Insignificance radiates current themes. The age of nuclear dread is back, after all, and Einstein’s regret about what his discoveries led to, sharp at the play’s end, is for us too. America is again producing rightist thugs with a morbid dread of the unAmerican world; only instead of McCarthyist accusations today we have fake news.
Terry Johnson’s new play is a deeply felt and typically witty look at the cinematographer Jack Cardiff.
When I was a student, I worked in a care home. Somewhere in a drawer I have a half-written short story about an old lady in a similar institution who remembers, through the fog of Alzheimer’s, two things: the heyday of Hollywood, and that she once “almost died”. Only on the last page does she tell her carer she once also had another name – ‘they called me Marilyn, Marilyn Monroe’. Bite me, it’s no nuttier than the plot of Hallo Norma Jeane.