The likes of Hannah Khalil, Morgan Lloyd Malcolm, Sarah Niles and Juno Dawson deliver some excellent work in The Motherhood Project.
Battersea Arts Centre announces a season of groundbreaking and playful work (April to July 2021) which explores fresh ways of living differently and sharing experiences.
One play I have seen consistently recommended over the last couple of years is Emilia which premiered at The Globe in 2018 and transferred to the West End last year and was awarded three Oliviers.
The Stage today (8 August 2019) announces the shortlist for The Stage Debut Awards 2019. The awards, now in their third year and presented in association with Access Entertainment, celebrate the best breakthrough talent in theatre, from actors and directors to designers, writers, composers and lyricists, all of whom have made their professional debuts in the past year.
Playwright James Graham may have had two plays in the West End at the same time but can he handle ten questions from me?!
A transfer from the Globe, Morgan Lloyd Malcolm’s play about the 17th century poet Emilia Bassano Lanier is already receiving highly positive acclaim as it rouses audiences to their feet night after night
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
It is not to diminish the historical elements, the research and indeed the politics of the play, to say that its power and its joy is in storytelling.
It’s a rare moment of beautiful subtlety in a play that is more often considerably bolder in its sentiment, but it’s also a mark of just how nuanced Nicole Charles’ production and Morgan Lloyd Malcolm’s writing is.
I’ve read reviews of Morgan Lloyd Malcolm’s play Emilia that describe its feminist message as ‘unsubtle’ and the titular character’s suffering as overblown. It’s comments like that, which reinforce the need for plays like this and why, perhaps, the time for subtlety is over.
Morgan Lloyd Malcolm’s script for Emilia at the Vaudeville Theatre is spectacularly good: funny, poignant, angry and inspiring. It’s an amazing piece of theatre, yes, but it’s also something more than that. It feels like a movement, almost.
Triumphant, if crude, the West End transfer of Emilia is a heartfelt account of a Renaissance woman who has been hidden from history.
While still reflecting on International Women’s Day 2019 I am delighted to be able to share the first part of my interview with the generous and inspiring playwright Morgan Lloyd Malcolm. We talked at length about her play Emilia, which has just had its first preview at the Vaudeville Theatre.
Further casting has been announced for Emilia, written by Morgan Lloyd Malcolm and directed by Nicole Charles at the Vaudeville Theatre from 8 March to 15 June 2019, following its run at Shakespeare’s Globe in 2018.
Following its sell-out run at Shakespeare’s Globe, Morgan Lloyd Malcolm’s new play Emilia, directed by Nicole Charles, will transfer to the Vaudeville Theatre for a strictly limited season from 8 March to 15 June 2019.
Apparently, 2018 is the ‘Year of the Woman’, and it has definitely felt like the world of theatre has stepped up for the occasion.
News, reviews, controversies and interviews of the week from London to Broadway, by way of Edinburgh, including the ‘banning’ of Mazz Murray from singing a song from Dreamgirls, Edinburgh venue pay rates, and a 70-year-old Broadway understudy getting the lead.
There is no mistaking the anger that informs and pulsates through the piece like a roaring fire. But this is an Emilia for our life and times, bringing the past and present and hopefully the future into glorious unison.
Love London Love Culture rounds up the reviews for Morgan Lloyd Malcolm’s Emilia now playing at the Shakespeare’s Globe.
Former and current artistic directors Mark Rylance and Michelle Terry will take to the stage this year in Terry’s inaugural season at Shakespeare’s Globe.
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