All three of the short plays that feature in Fizzy Sherbet’s audio series centre on writer/performers who, not unnaturally, bring a depth of emotion to their own work.
The Meaning of Zong and Afterplay showcase the power of audio drama to transport an audience’s imagination and to see the familiar a little differently.
With light at the end of the tunnel for live performance and some of our biggest institutions announcing summer programmes at their venues, the BBC’s new Lights Up Festival has arrived at a moment of optimism, not just acting as a reminder of all …
Death Of England: Delroy is by Clint Dyer and Roy Williams and is a response to their own earlier play, simply called Death Of England which played at the National Theatre before Covid hoved into our lives.
Death of England: Delroy, which was mid-way through its run at the National Theatre before it was forced to close, will be streamed for free on YouTube on 27 November 2020 at 7pm GMT and return to the Olivier Theatre in spring 2021.
Having had emergency surgery (not Covid related), Giles Terera will no longer be appearing in the National Theatre production of Clint Dyer and Roy Williams’ new one-person play Death of England: Delroy. Understudy Michael Balogun will take over the title role.
It has been a long time since the West End saw a truly great Macbeth so perhaps this is a chance for Simm and Kirwan to buck the trend with impressive performances that offer a different perspective on their characters while creating a potency in their exchanges that is never less than compelling.
The Dark is an exhilarating and personal journey through the dusty backroads of Uganda in 1979. Jumping between then and present day, Michael Balogun tenderly tells author Nick Makoha’s story of how he and his mother escaped the terror of Ugandan dictator Idi Amin’s reign and crossed the border heading for the UK when he was four years old.
Nick Makoha’s play The Dark tells his own story when, as a child, his mother smuggled him out of Idi Amin’s Uganda in search of a better life in the UK.
A whole lot of post-apocalyptic hurly-burly and sadly not much more besides – the National Theatre’s Macbeth really is something of a red-trousered disappointment.