After their 2018 production of Philip Ridley’s Moonfleece, Lidless Theatre present the tenth-anniversary revival of Ridley’s seminal play Tender Napalm.
Tarantula isn’t perfect and is certainly too long but Ridley’s latest twin works have been ideally suited to the nature of hybrid theatre, utilising the intimate and seemingly one-to-one focus that only a camera can create while building on the energy and vibrancy of live performance.
The long aftermath of trauma is the subject of Philip Ridley’s latest monologue for Southwark Playhouse building on the writer’s established relationship with the venue and the sensational The Poltergeist which premiered last November to an online …
Philip Ridley’s Tarantula is another stunning showcase for a young actor who commands the stage and leaves the viewer exhausted – in a good way.
London has an abundance of pub theatres, and the Old Red Lion in Islington is one of my favourites. The space is tiny with pew-like seating on two sides of the tea-tray sized stage.
I’ve selected 20 of the things that inspired, moved, amused and delighted, which have pushed the boundaries of what it possible and continued to fly the flag for theatre in the UK.
Here are Shane Morgan’s picks of how 2020 in theatre has continued to do what it does best: transporting us by engaging the heart, mind and soul.
Philip Ridley’s play The Poltergeist made an intimate transition to the screen and will be unmissable as soon as live performances can be scheduled.
A tour de force performance (mark Joseph Potter as one to watch) in a brilliant monologue on an empty stage, you will not want to miss Philip Ridley’s The Poltergeist.
What really strikes home in The Beast Will Rise series is the sheer range of scenarios which Philip Ridley conjures, all – in one way or another – providing responses to the pandemic, lockdown, survival and mental health.
The problem with creating theatre in an era of lockdown is that the constraints of working online tend towards a uniformity of creativity
Gloriously surreal monologue about everyday anxieties in extraordinary circumstances: welcome back the glittering dark!
While The Beast of Blue Yonder, Philip Ridley’s new play which was due to premiere this week at Southwark Playhouse, will not be going ahead during the coronavirus crisis, audiences will have a chance to see new work by Ridley in a collection of monologues, written in response to the current pandemic and performed by the cast.
Rachel Bright, best known as her role as Poppy Meadow in TV’s EastEnders, returns to the stage as part of the stellar ensemble cast for next month’s world premiere of The Beast of Blue Yonder, Philip Ridley’s new time-hopping black comedy.
Stellar ensemble casting has been announced for Philip Ridley’s new time-hopping black comedy The Beast of Blue Yonder, which receives its world premiere at London’s Southwark Playhouse next month. Time to get booking!
Philip Ridley’s new time-hopping black comedy The Beast of Blue Yonder receives its world premiere at London’s Southwark Playhouse in a strictly limited season, running from 2 April to 9 May 2020, with a press night on 7 April.
With the horrific news this past week of the lesbian couple who were taunted and physically attacked by a group of male teenagers on a London nightbus, the themes discussed at Terri Paddock’s recent post-show Q&A – including the urgent need to for LGBT+ inclusivity education in schools – become more worryingly timely than ever…
Louise Jameson and Thomas Mahy deliver dynamic performances in this sharply directed production of Philip Ridley’s play Vincent River.
Philip Ridley’s tawdry words in Vincent River, at times offering little more than a virtual peep show into graphic descriptions of verbally violent torture porn, tell us nothing new.
As part of her ongoing post-show Q&A series, on Tuesday 4 June 2019, Mates co-founder Terri Paddock hosts a special post-show discussion on homophobia and hate crime at Philip Ridley’s Vincent River. Got any questions?
Vincent River is a compelling drama not to be missed, and it is incredible to think that even though it was premiered almost 20 years ago, the message at its heart – hate crimes – is still so actual and relevant.