Cosmopolitan’s current most-read article is a feature on a $35 maternity dress worn by Megan Markle. This is, as explored in performance artist Paula Varjack’s latest work, an example of post-recession celebrity dressing. Yet mixing a Gucci top with Topshop jeans is a distant dream to those of us who will never be able to afford to wear Gucci.
There are great intentions at work here, but the initial concept is flawed – ultimately it undermines the power that the internet and technology gives to the alt-right.
This pro-immigration, hip-hop reinvention of the all-American musical about a country gaining independence from a distant, tyrannical overlord resonates rather differently in Brexit Britain than it does in America. Forget the NHS bus – could Hamilton be the new symbol of the Leave campaign?
The Tradition versus Progress conflict sits along side the moral question of whether or not we should be perpetuating these attitudes in young children – who don’t know enough to see these problems – by continuing to tell these stories.
It can be tough to get kids to engage with Shakespeare. Many of them see the foreign-sounding language and old-fashioned stories as irrelevant to the issues they battle as growing up today.
This is a beautifully made one-woman show in which Natasha Marshall plays all the characters, but chiefly Jaz, a 17-year-young woman of mixed African and British parentage.
Harry receives a children’s book manuscript from an unknown writer, Heather Eames. Impressed, he wants to discuss an advance, rights and making her book the Next Big Thing, but Heather’s based outside of London, heavily pregnant and ill.
A British Pakistani Muslim tries to reconcile his faith and family with his love of men and clubbing. A gay guy and his straight female BFF share a flat, a mutual adoration for classic films and the occasional man.
The music they listen to, and that which seeps from them with aching melancholy, is by Bob Dylan – written decades after the Great Depression ended. Combined with Conor McPherson’s earthy, Celtic script of imagery-laden prose, Girl From the North Country is not a musical.
Bechdel Theatre’s recent initiative Bechdel Testing Life asks women to send in recorded conversations from their everyday lives that pass the test. These are then given to playwrights, who use the conversations as jumping-off points for short plays.