Actor Kalungi Ssebandeke chatted to LLLC’s Emma Clarendon about his current role in Blood Knot, playing at the Orange Tree Theatre.
Cougar, a new two-hander about an older woman and a younger man is a bit sketchy, but its theatre form is thrilling.
The chaise longue has been dug out of storage for this re-imagining of William Congreve’s 1693 marriage farce The Double Dealer at the Orange Tree Theatre.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk
Dealing With Clair at the Orange Tree Theatre is a brilliant revival of Martin Crimp’s savage satire on human greed and male attitudes to women.
Losing Venice at the Orange Tree Theatre is a remarkable rediscovery by this ever-enterprising venue and is a well-crafted and elegantly written curiosity.
How is the deepening crisis in Venezuela affecting theatremakers there? Award-winning playwright Gustavo Ott, who gets his overdue UK debut this month with a new production of 2002 play Your Molotov Kisses, discusses that and how his five years living in London as a young immigrant – working as a theatre usher, meeting Harold Pinter, flat-sharing with ETA separatists – shaped him and his art.
One of London Pub Theatre’s ‘Top Picks’ for this year’s Camden Fringe, Your Molotov Kisses is almost ready to debut its new British version at London’s Etcetera Theatre from 8 to 16 August 2018. Check out our new picture gallery of the cast in rehearsal – and then get booking!
Venezuelan writer Gustavo Ott’s Your Molotov Kisses is relocated to London for its UK premiere at Camden Fringe next month. Director Gianluca Lello tells us what drew him to the piece, why Camden is such an important alternative to Edinburgh come August, and how “people who lie, scheme and delude themselves to get ahead” create such great drama. Check out our interview below – and then get booking!
Do you like your fringe theatre to be provocative and grotesque? Your Molotov Kisses will not disappoint. Written by award-winning Venezuelan writer Gustavo Ott, the premiere of this new British version gets its full production at this year’s Camden Fringe.
An Octoroon at the Dorfman Theatre at the National remains as incendiary as the day I first saw it. In fact, it has grown in magnificence.
Such a bleak, unexciting play is high risk, for sure. But if women’s lives are to be represented truthfully, then this is the risk that must be taken, and I applaud Emily Schwend for her bravery.
I really am incredibly excited about this month’s line up. And it was one of those months where it was a real battle to whittle the contenders down to my ten favourites.
Joe White’s play Mayfly is telling us please, hang on. So much can happen in a day. And the most surprising acts of kindness and generosity can come from the most unsuspecting of sources.
The cast’s good work goes a long way to saving what is hyped as a classic, but is actually not such a very good play. Absolute Hell is fun, but this time the show is better than the writing.
Under the tenure of Paul Miller, the Orange Tree Theatre has shown a fierce commitment to new writing, but Joe White’s Mayfly is the first debut play to be staged there since Miller’s ascendancy, and it’s easy to see why it made the cut.