Most impactful in Brown Boys Swim at Soho Theatre is the unexpected ending where the actual stakes are revealed, after have been largely masked by the frivolity of the premise. There’s some brief foreshadowing, but this is glossed over by the boys’ vivacity and focus on impressing their peers so it’s easy to miss.
Ever seen three Gods in one room? Take a look at these rehearsal images for God 2.0 and you will! Book your tickets now.
What would you ask God if you had the chance? The team at God 2.0 want to know the answer and may even use it in their new show, which opens later this month. Book your tickets now.
How did a child’s question lead to new satire God 2.0? Playwright/director Andrew Bruce-Lockhart explains all. Book your tickets now!
What would you ask God? What if you didn’t like the answer? Those are the questions posed by playwright and director Andrew Bruce-Lockhart in new play God 2.o, coming to the Lion & Unicorn Theatre next month. Book your tickets now!
Rare Philip King play tries to turn a farcical situation into a serious drama – and it doesn’t quite work.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
Think about your parents, or a parental figure. How have they impacted who you are now? Whether positive or negative some mark will inevitably and irrevocably remain.
You only find round beds with pink satin sheets in particular places or owned by particular people. But it’s safe to say that a woman wearing a full, fur-suited mouse costume complete with face/head mask is not one of these.
Devised by the original company, this Bristol Old Vic and National co-pro has little technically wrong with it – it captures Jane’s spirit reasonably well, using physical theatre to cut through the dense length of the novel.
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.
New American drama about God and violence is a bit baggy, but it is also often brilliantly perceptive.
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.
This 1983 show has some great numbers, but its frivolity and insubstantial book focusing on a personal journey rather than the larger political landscape is diminutive rather than powerfully sweeping.
Paying homage to Shakespeare’s genius but not slavishly binding themselves to it, Golem! sticks up two fingers at Shakespeare purists who, with quivering voices, clutch their pearls and gasp, “But the text!”
Shirley’s script, with its echoes of Hamlet, Othello and The Spanish Tragedy, is less philosophical and more action. Whilst this makes it easy to follow and immediately engaging, the characters are more generally more limited in their scope for interpretation.
Imagine a production of Waiting for Godot with more characters, set in space, where the audience chooses the outcome of the story. What you are picturing is probably gloriously weird and kitschy.
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