Abigail Thorn’s new play The Prince takes inspiration from Shakespeare and time travel to deliver a funny and deeply original take on gender norms and expectations.
The unstoppable Creation Theatre has been one of the highlights of digital theatre production during this 14 months of uncertainty, and for their new show they return to the works of William Shakespeare and Romeo and Juliet.
Despite the general negativity inherent in John Webster’s work, Creation Theatre has managed to give us something which is full of positive creativity in the company’s production of The Duchess Of Malfi.
With the gimmicks stripped away, what’s left in Creation Theatre’s Grimm Tales for Fragile Times & Broken People is a masterclass in storytelling which, while not exactly heartwarming, does manage to leave the audience with a reminder that even in the darkest of times, we are not alone.
Calling their collection Grimm Tales For Fragile Times And Broken People, Creation have woven together five of the Grimm brothers’ stories which have resonances with the current lockdown situation and the issues of confinement and mental health.
Fresh from winning an ONCOMM Award for their inventive reinvention of Wonderland in Alice – A Virtual Theme Park, Creation Theatre is continuing its exploration of the digital auditorium with their newest production Grimm Tales for Fragile Times and Broken People.
Oxford-based Creation Theatre is presenting its online production of Grimm Tales for Fragile Times & Broken People, a deliciously dark and twisted set of fairy tales, from 28 January to 14 February 2021.
The highlight of the evening was Tom Collinson’s Percy, directed by Natasha Rickman. Percy, a man in his 50’s, has dedicated his working life to one store, and one section; The Kitchen. Every item known and loved with intricate detail, Percy’s loyalty and routine is what ends up getting him into trouble with the new boss.
The Sphinx Theatre Writers Group have been developing new ideas for six months now and the penultimate session of the Women Centre Stage: Power Play Festival allowed us to peep at the fruits of their labour.
Shakespeare liked to play around with ideas of male and female. From cross-dressing to multiple identities, appearances are never quite what they seem on his stage. So it’s fitting then, that Natasha Rickman decided to run a little gender experiment. Each night, the cast take on either a role of their own gender, or the opposite. Add to that, the cast jump between different parts as the show goes on, sometimes within the same scene. All in all, in order to make it an effective performance, the acting needs to be impressive in order to break down the walls of believability to make the audience buy into the shifting identities of the people before us. And they do.