Sharon D. Clarke and Katherine Parkinson are among the cast for new audio project Written on the Waves presented by 45North and Ellie Keel Productions.
In Irwin Shaw’s Bury the Dead, written in 1935, six fallen American soldiers stand up in their graves and courteously ask not to be buried.
The heart of Bury The Dead is the army using the loved ones to emotionally manipulate the soldiers to ‘obey orders’ – or at least try to.
Bury the Dead at Finborough Theatre is a unique and engaging story which captures the sense of unjust, premature death at the mercy of someone else’s agenda.
I can appreciate the effort made by the company in I Have a Mouth & I Will Scream to address the fundamental difficulty of being a contemporary feminist, but I am left a little wanting.
The publicity for Abi Zakarian’s I Have A Mouth and I Will Scream at The Vaults puts it better than I ever could – it’s “a play-performance-art-protest-thing”.
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.
Have you seen the myriad five- and four-star reviews for our Featured Show, Mingled Yarn Theatre’s two-hander play with music based on Joseph Moncure March’s once-banned 1928 poem THE WILD PARTY? Here’s a selection of some of our favourite review quotes.
A poem performed as a 65 minute play and in the most innovative and inviting way imaginable, as a nifty two-hander interspersed with postmodern jukebox-style songs. Joey Akubeze and Anna Clarke made a stunning job of engaging the audience in Joseph Moncure March’s piece.
Poetry dramatised: for me, the real strength in Mingled Yarn Theatre’s staging of The Wild Party is in providing a platform for Joseph Moncure March’s full, unadulterated poem.
The Wild Party started life as a long narrative poem by Joseph Moncure March published in 1928 – it was made into two musicals, which is how most people know it but they’re very loose adaptations – we’re going right back to the original text.
Producer David Ralf explains why he was so drawn to book-length poem THE WILD PARTY, what audiences can expect and why The Hope is the perfect space to present Mingled Yarn’s refreshing take on this classic piece of literature.
Before the St James Theatre relaunches as The Other Palace with Michael John LaChiusa’s musical of The Wild Party, Mingled Yarn company returns to the original source, Joseph Moncure March’s 1928 poem, for a brand-new two-hander play version staged at north London’s Hope Theatre.
Two stories of disappointment and loneliness come together in the first UK revival of The Window and Blank Pages, single-act plays by playwright Frank Marcus (perhaps best known for his play The Killing of Sister George). Lovingly directed by the writer’s granddaughter, Rafaella Marcus of Mingled Yarn, the pieces deal with similar themes, and despite being written three years apart, they’re presented in a seamless single production that ultimately suggests they may be connected by more than their subject matter.