Bloody Difficult Women is a gripping and fascinating play based on the real-life case of Gina Miller, who in 2016 brought an action against Theresa May’s government that forced it to get parliamentary approval before invoking Article 50 to leave the EU.
Noël Coward’s A Song at Twilight may be billed as a comedy but this story of one man’s fear of mortality and exposure, is tinged with tragedy. The Theatre Royal Bath’s polished production, which is currently touring the UK, glories in Simon Callow’s exquisite enunciation.
If Mark Gatiss tweets his love for your show, you must be doing something right! Just opened on Friday (13 July 2018), the world premiere of Alkaline has already garnered some great reviews as well as praise from Gatiss as well as other big hitters. We’ve rounded up these top tweets and some of our favourite review highlights below. Time to get booking!
The programme bears an image of a shirtless Fox with a sexy woman draped across him. He’s looking past her, the physical definition of agonised. This picture promises passion, Greek drama perhaps.
The opening scene is set in one of Henry’s (Laurence Fox) productions, although that’s not evident until the action moves on from the set to which Charlotte (Rebecca Johnson) and Max (Adam Jackson-Smith) are portraying.
Interesting that two new plays in recent weeks have referred back to Nazi Germany and indirectly to the Holocaust. Whereas Cordelia O’Neill’s fine No Place for a Woman (Theatre503) looks at relativism and the chance accidents of life that can turn one middle class woman into being on the `winning’ side, and the other, by virtue of her Jewish birth, on another, Unwin looks directly at the Nazis’ policy of eugenics.
The Rose Theatre’s new autumn/winter season includes a major revival of Stephen Bill’s 1987 comedy Curtains and co-productions of Sam Holcroft’s Rules for Living, David Edgar’s adaptation of Dr Jekyll & Mr Hyde starring Phil Daniels and Tom Stoppard’s The Real Thing starring Laurence Fox.
Laurence Fox stars in a new touring production of Tom Stoppard’s The Real Thing, directed by Stephen Unwin and launching from Cambridge in September 2017.
Break A Leg favourite, Rebecca Johnson is currently appearing in All Our Children at Jermyn Street Theatre and she took time out in between shows, to chat about her latest role in the five star rated play. Watch our vlog with her!
Stephen Unwin is a name I am familiar with as a director, and in my experience he’s an incredibly talented director. His debut play, All Our Children is set in 1941 and throws a spotlight onto the true story of the cruel and senseless murders of disabled children in Nazi Germany.
Victor is a paediatric physician and the head of an institute for disabled people under the age of 25 in 1941 Cologne. The Nazis have taken over the facility’s operations and it has been decreed that every fortnight, the most vulnerable residents are to be transferred to a death camp.
Director Stephen Unwin’s gripping debut play All Our Children, which probes one of the darkest episodes in recent history, premiered this week at London’s Jermyn Street Theatre, where it continues until 3 June 2017. Production photos have been released.
What would Bertolt Brecht have made of Donald Trump? Brecht’s “epic theatre” was sparked by the rise of Nazism in 1930s Germany. Many pundits have likened the political period we’ve now entered with that dark decade of the twentieth century.
David Yelland stars in All Our Children, director Stephen Unwin’s gripping debut play which probes one of the darkest episodes in recent history.
As part of her post-show Q&A series, Mates co-founder Terri Paddock will host a post-show panel discussion on political theatre following Lazarus Theatre’s acclaimed production of Brecht’s The Caucasian Chalk Circle at Greenwich Theatre on Thursday 30 March 2017.
Following the recent announcement that Anthony Biggs will be standing down from his role as Artistic Director this summer, London’s Jermyn Street Theatre announces his final season, running from April to July 2017
Touring productions are the vast majority of shows that I go along to review, so whittling down a shortlist of the top ones from 2016 is no mean feat. The task has been eased somewhat as a few of my personal idols have been treading the boards this year and their appearances were highlights in themselves.
Rebecca Johnson is an actress whose work I was already familiar with, having seen her last Christmas as Mrs Darling in Wendy and Peter Pan at the RSC in Stratford. I rated her performance, then, and she has continued to impress me now that she is starring as Liz Essendine, alongside Samuel West as Garry Essendine, in Noel Coward’s Present Laughter.
I am playing Daphne Stillington, a 24-year-old debutante, who has fallen hook, line and sinker for Garry Essendine (played by Samuel West), a hugely successful and famous theatre actor. I am really enjoying the tour – yes! Such a talented and lovely group of actors and company of creative.
What’s the difference between political theatre and theatre about politics? Can theatre be a catalyst for real change? Do right-wing political perspectives get a fair hearing onstage or is theatre the preserve of the left-wing? And how much does modern political theatre owe to Bertolt Brecht?
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