For me, the feeling of missing theatre (when there isn’t really much happening) makes me incredibly sad, but missing out on theatre (because I am not making the effort to be a part of it) makes me unbearably anxious. I have to get back to Theatre Terri.
New post-show Q&A: Catch The Kite Runner on tour with Terri at Bromley’s Churchill Theatre
After two West End seasons, The Kite Runner, an unforgettable theatrical tour de force based on Khaled Hosseini’s best-selling novel, embarks on a new UK tour. I catch up with the cast at the Churchill Theatre, Bromley.
New post-show Q&A: Join Terri for new ‘cancel culture’ black comedy Snowflakes
After the Old Red Lion Triptych in March, I’ll return to the Islington venue for the world premiere of this darkest of modern comedies, the inaugural production from Dissident Theatre Company.
New post-show Q&A: Join Terri for The Wardrobe Ensemble’s The Last of the Pelican Daughters
After their acclaimed West End debut with Education Education Education, The Wardrobe Ensemble return to London with their latest devised show, following an Edinburgh Fringe sell-out and UK tour.
New post-show Q&A: Join Terri at Tristan Bates Theatre for In Search of a White Identity
As part of the industry-invite, opening night performance of In Search of a White Identity, the first new play developed and produced in association with The Actors Centre, I’ll chair a discussion about both the play and the theatre’s future plans.
WATCH Once post-show Q&A video: How does this touring production differ from the West End?
I first fell in love with Once after seeing the original 2007 independent Irish film. Then again when I the Tony Award-winning musical adaptation had its West End premiere in 2013. And now again on the musical’s first major UK tour.
WATCH: Some Mothers Do ‘Ave ‘Em stars Joe Pasquale & Sarah Earnshaw on why they couldn’t wait to reprise their roles
I laughed my head off watching Some Mothers Do ‘Ave ‘Em, and afterwards, got onto the wonderfully kitsch 1970s set myself to interview stars Joe Pasquale and Sarah Earnshaw and writer-director Guy Unsworth.
New post-show Q&A: Join Terri for the West End transfer of One Jewish Boy
As part of her ongoing post-show talk series, Mates co-founder Terri Paddock chairs a special post-show discussion at the West End transfer of Stephen Laughton’s One Jewish Boy, written as an urgent response to rising anti-semitism. Got any questions?
New post-show Q&A: Join Terri & Robert Bathurst for Love, Loss & Chianti
I’m excited to raise a toast to Robert Bathurst and the team behind poetry-inspired Love, Loss & Chianti – and to pay my first visit to the new, purpose-built home for iconic London arts centre Riverside Studios.
WATCH Sinners post-show Q&A video: How did Brian Cox approach directing his wife Nicole Ansari?
After a sold-out performance of Sinners, I was joined by writer Joshua Sobol, director Brian Cox and stars Nicole Ansari and Adam Sina about the development of this shocking play about a woman, about to be stoned to death, and her lover.
WATCH Macbeth’s post-show Q&A video: How do you do ‘The Scottish Play’ with a cast of 10?
Are you superstitious? The most famous theatrical superstition is, of course, the one about “The Scottish play”. Do the cast of Lazarus Theatre’s new ensemble production believe in curses?
New post-show Q&A: Join Terri for Philip Osment’s last play Can I Help You?
As part of her ongoing post-show Q&A series, Mates co-founder Terri Paddock heads to London’s Omnibus Theatre tomorrow (6 March 2020) for the premiere of Can I Help You?, the final play by pioneering British theatremaker Philip Osment. Got any questions?
WATCH The Jury post-show Q&A: Can men be victims of domestic abuse?
Are you aware of your inherent biases about gender? How much do they affect your judgments about women or men are capable of? What about when it comes to a violent crime?
New post-show Q&A with playwright Simon Stephens: Join Terri for the Old Red Lion’s Nuclear War-led triptych
As part of her ongoing series of post-show talks, Mates founder Terri Paddock chairs an unmissable event with leading British playwright Simon Stephens following the first revival of his play Nuclear War, part of the Old Red Lion Triptych. Got any questions?
WATCH Chaplin’s post-show Q&A: Why is being funny such a sad business?
Have you ever seen Charlie Chaplin’s classic film The Great Dictator? Eighty years after it was released, it feels terrifyingly current. We get a glimpse of why with the inclusion of its final speech in Arrows & Traps’ latest offering.
NEWS: Cast announced for Old Red Lion Triptych, including Simon Stephens’ Nuclear War
Casting has been announced for the much-anticipated Old Red Lion Triptych, which is headlined by the first revival of Simon Stephens’ 2017 one-act play Nuclear War. Time to get booking!
NEWS: Old Red Lion stages first revival of Simon Stephens’ Nuclear War as part of triptych
Simon Stephens’ 2017 one-act play Nuclear War gets its first revival in March as part of a new triple bill at London’s Old Red Lion Theatre in Islington under newly appointed artistic director Alexander Knott.
WATCH Magic Goes Wrong post-show Q&A: What’s it like working with Penn & Teller… & JJ Abrams?
Abracadabra! As their weekly episodes of The Goes Wrong Show continue to delight television audiences, I was delighted to continue my series of Mischief Theatre post-show talks with a return to the Vaudeville Theatre to catch up with the company’s co-writers – Jonathan Sayer, Henry Lewis and Henry Shields – and their co-stars in the latest goes-wrong stage comedy.
FIRST-LOOK: Arresting production photos & trailer for new 1950s-set police drama COPS
We need to take a trip down to the station. Check out our gallery of production photos and trailer for the world premiere of Tony Tortora’s COPS, set in a Chicago police precinct office in 1957. It’s just opened at Southwark Warehouse, where it’s running until 1 February 2020 only. Time to get booking!
Watch COPS’s post-show Q&A: How does a new play feel like a finely minted period revival?
To me, COPS, set in 1950s Chicago, comes across as so authentically period that it feels like it must be a finely minted revival. But it’s not: it’s a new play. Even more surprising then that it’s written by an author I’d never heard of before.