In OPEN Ealing’s Love Screens – three short plays that are written by Nicolas Ridley and directed by Anthony Shrubsall – relationships are placed under the microscope: those that have run their course, those that have remained in a state of inertia and those that may blossom, given the right circumstances.
Combining music and choreography with the spoken word, Don’t Stop Thinking About Tomorrow is thoughtful in its conception and ambitious in its scope, looking at the ‘bigger picture’.
The second entry in Alchemist Theatre’s ‘Writers On Hold’ series, Blue Beneath My Skin continues to explore the themes of racial identity and femininity.
While Ibsen’s A Doll’s House is arguably the first and most famous ‘modern’ play about female emancipation from an inequitable marriage, it’s certainly not the only drama to tackle this once-controversial topic.
As an artist, Ian Dury is unique in the annals of British rock music. Contracting polio at the age of seven (which resulted in the paralysis of his left leg, shoulder and arm), Dury didn’t let this stop him from becoming an accomplished musician.
During lockdown, Glass Half Full Theatre have produced a series of monologues that depict women from different walks of life.
While world history is ‘officially’ about facts, in reality, it is an amalgamation of thousands of experiences into one coherent narrative.
If one were to peruse social media as this time of ‘social distancing’, one thread that surfaces periodically is how hard it is for single people who have no human contact. There is, however, something more hellish – recently splitting up.
A young man whose life was cut short by the First World War, Charles’ poems marked him out of as one the pre-eminent wordsmiths of his time.
History shows that right up to the 20th century, women were ‘sectioned’ on all sorts of non-medical pretexts.
Far from being just a niche tale about familial connections, the play’s intersectionality provides greater depth in the questions and answers it broaches.
The Cutting Edge passes on the message that art in all its forms is about the importance of the human experience, rather than an end in itself.
In Paul Minx’s play The Dog Walker (which is directed by Harry Burton) we meet two individuals who despite initial appearances, have deep-seated issues that manifest as ‘quirky’ behaviour.
In Flights, which is written by John O’Donovan and directed by Thomas Martin, a protracted period of grieving is examined for the first time, leading to an uncomfortable night of self-examination.
Responsibility to oneself and others permeates On McQuillan’s Hill, as does how isolation – real or imagined – affects one’s mental well-being.
In our continuing series, our editor Lisa Martland picks out some of her Top Picks from the last week of theatre (to 19 January 2020), including Aleks Sierz’s view that the new production of Les Misérables at the Sondheim Theatre is marching on to victory.
With no topic too grim, too unsettling or embarrassing, Lullabies for the Lost gives a voice to the unsayable and has insights to spare about the human condition.
The Invisible Man manages to combine both panto and more serious fare, bringing a modicum of seasonal mirth to a tale about the darker side of human nature.
Asides from being a love letter to the NHS, Tania Amsel’s Blood Orange makes clear how stressful and demanding on one’s mental health working in the caring professions is.
The Wind Of Heaven at the Finborough Theatre is spot on, with the principal characters living within the skin of their respective roles.