Edwina Strobl directs Daniel Keene’s Boxman as part of the Stomping Ground Festival, a Young Director’s training programme set up by StoneCrabs Theatre Company. Weathers establishes his character before the performance begins, an invisible shadow on stage that the audience pass by to take their seats.
Chris Davis directs Martin Sherman’s Passing By as part of the Stomping Ground Festival, a Young Director’s training programme set up by StoneCrabs Theatre Company. Simon (Adrian Quinton) and Toby (Mike Evans) hook up one evening at a time when homosexuality was still unacceptable and met with ignorant anger.
Kapila directs Kate Tempest’s Wasted as part of the Stomping Ground Festival, a Young Director’s training programme set up by StoneCrabs Theatre Company. Charlotte (Chioma Anyanwu), Ted (Jack Boswell) and Danny (Ludovic Hughes) epitomise the latest generation of working professionals, a clash of worlds where each person feels trapped in their own situation.
Fernanda Mandagará directs Paulo Santoro’s The End Of All Miracles as part of the Stomping Ground Festival, a Young Director’s training programme set up by StoneCrabs Theatre Company. Santoro’s script on the face of it can be conceived as a serious piece of theatre.
Emily Marshall directs Atiha Sen Gupta’s Counting Stars as part of the Stomping Ground Festival, a Young Director’s training programme set up by StoneCrabs Theatre Company. The central characters both get jobs in a nightclub, one thankful to be in work whilst the other is dreaming of getting away and making more of his life.
One of Wheeldon’s finest moments that captures the romantic essence of its Parisian roots and brings it into the present day. Experience a cast and creative team working its peak in a fitting homage to an iconic style.
John (Alec Gray) is a charlatan, a sham. Convincing in his craft, but swindling Miss A (Nicola Peluso) out of her fortune nevertheless. Stricken with grief over the passing of her mother, she is desperate to make contact, seeking out John as a medium in the process.
Viki Browne devotes a show to the memory of her grandmother – people grieve in different ways and for Browne this is her way of processing. The Gran Show is a work in progress and Browne is understandably nervous at the start of her show.
It may be Kate (Nesba Crenshaw) sat at the head of the runway on a platform, studying us, judging us, undressing us, but we know that Tom Brennan’s inspiration for this character is Anna Wintour.
Joe Sellman-Leava opens Labels with quotes from Nigel Farage, Katie Hopkins, Nick Griffin, Idi Amin and Donald Trump, to name but a few. In the first 2 minutes the audience are hit with a barrage of racial abuse, mandates to force out the immigrants and send them back as if trying to prevent an alien invasion.
Two women meet and fall in love whilst engaging in a spot of dogging, the start to every classic fairytale. Well, it is in Puppy at least, a work in progress by Naomi Westerman.
Kings is my pick of The Vaults Festival 2017. There, I said it. A bold opening statement, but sometimes it’s easier just to blurt these things out straight away, no messing about.
The stage is ramshackle, full of cardboard boxes stacked haphazardly around that provide an insight into Gareth’s unorganised, potentially unhinged mind. But he hangs onto the things that are important.
Deborah Pearson sits behind a desk, with a black and white 1950s foreign film playing in the background, reminding us that this film could easily be amongst the series of choices that result in us being present to watch.
A random collection of props surround a sacred circle of light, the protective performance space for Julie Rose Bower. In here, she can recreate sound, loop it round and round with a dulling monotony.
Sonja Linden’s Roundelay sticks two fingers up to this generalisation whilst sticking two fingers down its pants for a good old rummage around.
The British Empire feels like an octopus, its tentacles stretching out across the globe and touching all continents, everything feeding back into the main body at the centre.
Yes, it is in many ways the most bizarre opening to a production I’ve ever witnessed. Each time an ad break rolls on, there is the expectation that the clip will stop and the play will begin.
How to create a satirical, multimedia performance, inspired by How To Come Out Black: Pick a popular topic that is relatable and highly commented on.
As a name, Will Power conjures the image of a jack the lad, a confident (perhaps a touch arrogant) young guy with a slight swagger, affable nature and consistently positive outlook on life. In Toby Boutall’s play, William (Anthony Fagan) certainly is that.