A quick show of hands at this week’s Q&A at the Park Theatre confirmed my suspicion: most people, even left-leaning people, have not heard of Howard Zinn. Like those in the audience, before this show, I counted myself amongst them. So by that measure alone, Bianca Bagatourian’s The Time Of Our Lies is a success.
In Ché Walker’s dynamic, scarlet splashed, viscerally staged production, The Time of Our Lies is nothing if not a battle cry against those who govern the USA and its militaristic and foreign policies.
Bianca Bagatourian’s script adapts the life and work of Howard Zinn (who passed away in 2010) into this 65-minute long play.
As the world feels like it teeters on the edge of a war what with the rise of fascism and the far right, this collage of extracts from Howard Zinn’s writings, music, and original text in The Time Of Our Lies reminds us of the importance of activism and avoiding war at all costs.
August Wilson’s King Hedley II is something of a flawed play but it receives a strong production from Nadia Fall at Theatre Royal Stratford East.
This powderkeg of a play, from award-winning writer Mufaro Makubika, explodes halfway through leaving you in no doubt that this is anything but a feelgood domestic drama. It’s incendiary.
Camden Stands with Grenfell Tower: An evening of music and poetry in aid of Grenfell Tower Fire Fund.
Hosted by Ché Walker, Friday 23rd June sees a night of music and poetry in honour of the victims of the Grenfell Tower tragedy and to benefit the Grenfell Tower Fire Fund.
The opening production in the ‘Summer of Love’ is Daniel Kramer’s Romeo and Juliet and following Rice’s lead, it is bold and brash, full of light and sound, and the kind of ferocious energy that you can easily imagine raising the hackles once again of those influential precious few.
Shakespeare’s Globe is has announced casting for Romeo and Juliet directed by Daniel Kramer, and Twelfth Night directed by Emma Rice. Emma’s 2017 summer season, the Summer of Love, marks the 50th anniversary of the summer of 1967.
What you do get from the trilogy day though is a huge sense of occasion, and the undeniable truth of the significance of what has been achieved here. Unabashedly all-female productions of Shakespeare, shaking up a (male dominated) establishment that still can’t quite let these things happen without a range of think-pieces.
A slightly odd one this, the Donmar’s all-female adaptation of The Tempest opened at the King’s Cross Theatre in late September, but from what I can tell won’t be officially reviewed until 22nd November.