Why aren’t we telling young people about the writing and writing-related careers which drive our industry?
Marie McCarthy’s Clapham Omnibus venue never ceases to surprise. Dedicated, as befits its previous life as a library, to storytelling in all its various forms, Scott Le Crass’ revival of Simon Stephens’ Country Music is itself a revelation.
Written by Simon Stephens and directed by Scott Le Crass, Country Music examines the life of a young offender over a span of 17 years.
A sensational performance from Cary Crankson anchors a powerful production of Simon Stephens’ Country Music at Clapham’s Omnibus Theatre.
There is much to be gleaned from the subtlety of Country Music but it requires work and attention to seek it out.
The plot of Country Music may at times be slightly muddled, but the sense of waste and irretrievable loss at its heart comes through powerfully in this excellent revival.
Overall Harper Regan is a strong starting point for a company which is striving to tell more female-led stories.
The director Scott Le Crass chatted to us about reviving Country Music by Simon Stephens at the Omnibus Theatre from 29 May 2019.
A complex, surprising and very wordy play, Harper Regan by Simon Stephens certainly fulfils the remit for newly formed theatre company Contentment Productions, whose aim is to champion exciting female leads.
It is a warm and welcome return to the West End for the Olivier Award-winning show The Curious Incident of the Dog in the Night-time, based on Mark Haddon’s beloved book.
The National Theatre has announced that The Curious Incident of the Dog in the Night-Time, adapted by Simon Stephens from the novel by Mark Haddon, and directed by Marianne Elliott (War Horse, Angels in America, Company) will return to the West End in November 2018 for a limited season,
It might be 20 years old, but Simon Stephens’ early play Bluebird could have been written yesterday – and not only because of the many very apt references to the stiflingly hot weather.
Bluebird is a poignant celebration of London’s infinite variety. If there’s a play that will give you hope for London in its current haze, that play is Bluebird.
Key to Sea Wall’s effectiveness is Andrew Scott’s ability to connect so entirely with his audience. Laughing and joking, we’re totally with him in the anecdotes of his ideal life.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
It’s hard to doubt the integrity of the process that produced Fatherland, but it must be admitted that its conclusions are generally already well known.
Iwan Lewis’ direction is assured and he is truly at home creating an increasingly wide ripple effect in the intimate surroundings of The Barn Theatre, which after The Secret Garden and now One Minute must surely be on the map as one of the most exciting venues in the South West.
Some of the language in Simon Stephens’ 2003 play One Minute sparked a local controversy in Cirencester amongst some theatregoers who found it to be excessive, unnecessary and offensive. The Barn Theatre embraced the feedback and made it a focus of the post-show Q&A chaired by Mates co-founder Terri Paddock on 25 May 2018…
The Secret Garden set a high benchmark, but the Barn Theatre has matched it with another round of rave reviews for its second offering, Simon Stephens’ fragmentary meditation on grief, One Minute, helmed by artistic director Iwan Lewis. We’ve rounded up some of our favourite review highlights below – and a Mates’ Twitter take from opening night.
Twenty-nine-year-old actor turned artistic director Iwan Lewis makes his directorial debut with a fresh take on Simon Stephens’ 2003 play One Minute, as the second offering at the new Barn Theatre in Cirencester. Here, he explains why he’s so fascinated by Stephens’ fragmentary play about lives affected by the disappearance of a child…