There’s a staggering amount of up-and-coming talent on display with the world premiere of “post-Weinstein, post-Spacey drama” Anomaly, now running at London’s Old Red Lion Theatre.
“A gripping production” and an “important play” featuring “top notch performances” – critics and bloggers have been full of praise for WildChild Productions’ #MeToo drama Anomaly at the Old Red Lion Theatre. Take a look at what they had to say, then book your tickets for this “pacy, perceptive debut play”.
In the light of #metoo, post-Weinstein, post-Spacey and post all the other creeps that have been exposed Liv Warden’s debut play Anomaly (produced by Wildchild Productions) looks at what happens to those in the crossfire, the wives, the daughters and all the other women affected.
Written by Liv Warden and directed by Adam Small, Anomaly is informed by recent events and the multifaceted accounts of women.
Following on from recent allegations, the #MeToo hashtag reappeared and the Time’s Up initiative was set in motion. Liv Warden’s new play, Anomaly, looks at a fictional scandal and its effect on the women in the accused man’s life.
Anomaly at the Old Red Lion Theatre is a gripping and troubling family drama that takes a scenario we know and invites us to see it from a perspective that’s often overlooked.
Anomaly is a really exciting play. For all that it’s hard to watch and challenging to process, it is immensely rewarding and a great hour of theatre all round. It’s also an amazing showcase of young, female talent doing stuff on their own terms. And I think we can all agree that’s A Good Thing.
Liv Warden’s play Anomaly, inspired by the Weinstein scandal, focuses on the family of a media mogul who’s been caught up in a scandal that can’t be hushed up by PR.
While many of us have been eating far too many mince pies and celebrating the turn of the year, the team creating new drama Anomaly, have been hard at work preparing the play that opens at the Old Red Lion Theatre next week.
In light of Roman Tragedies reminding us of the vast potential of what Shakespeare can be rather than the tendency towards the ‘proper’ readings of his work that we tend to get here in the UK (vast generalisations I know, but can you really argue against it…), it’s gratifying to see directors, and venues, taking the opportunity to stretch those traditional notions.