A young man waits impatiently for his little brother Matty to finish school. Alone on a football pitch amongst piles of dead leaves, he frets over his alcoholic mum, the state of their home and the letter from social services informing them that Matty will be taken away. He considers his options in a rhythmic, […]
It doesn’t need to be as long as it is, but The Tin Drum is a lot of fun and a dark, prescient reminder that fascism lurks around the corner of Christmas this year.
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.
Combining their woman-led, political ethos with the use of live music, RashDash reclaims femininity and appropriates the traditionally patriarchal adventure of fairytales in this spirited show for all ages.
Whilst war rages in the Ukraine, a journalist goes to the front lines and falls in love. Girls sit on a park bench, waiting for their soldier boyfriends.
2017 marks fifty years since the partial decriminalisation of homosexual ‘behaviour’ between consenting adults in the UK, and sixty years since the Wolfenden Report recommended this as the best course of action for Parliament. A diamond anniversary, of sorts.
In Nanette, Gadsby breaks down this joke structure as she expertly plays the audience, slowly lengthening the time delay between tension and release.
Harry Potter satire burns bright — new play about storytelling examines a children’s book craze.
Mexican company Los Colochos Teatro not only knows how to utilize Shakespeare’s Scottish Play in order to tell a story of the here and now, but also uses human imagination in a simple, yet creative and immersive way. Their Mendoza, based on Macbeth, is one of the best Shakespeare productions I have seen.
Two walls of Marshall amps sit either side of gleaming trusses. A DJ booth manned by a black-clad figure sports a banner for a place called Heorot. Smoke seeps through vents in the floor and a woman in goth metal dress prowls the stage.
Since 2013, Natasha Langridge has watched her neighbourhood become unrecognisable. As the developers and their machinery creep ever closer with every passing month, she documents their journey along side her love life.
In the expansive hall and gift shop of the V&A’s Museum of Childhood, one corner has been set up as a playing space for Popup Opera’s Hansel & Gretel. Director James Hurley doesn’t focus on the darker elements of this fairytale, though. Using surtitles as a vehicle for humour and contemporary references, Popup Opera succeeds at making Englebert Humperdinck’s full-scale opera fun and accessible.
Imagine a world where our inner monologues are voiced at all times. Sure, it would make the world a much louder place and we’d probably always have sore throats. But think of the things we’d hear. The mundane, the extraordinary, the intimate
Sami and his mum are preparing for her to go to Mars for years and years and years. Both obsessed with space, Sami’s proud of her but worried that he might never see her again.
Jane Eyre is one of those mythical stories that make their home in your imagination. Where they can chat, sing and dance through your unconscious for years and years and years.
A playwright wants to write a play about patricide, but with an actual criminal onstage instead of an actor. Initial research leads him to a young man called Martin Santos, serving consecutive life sentences in Belmarsh for killing his father.
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.
Random and topical thoughts and quotes gathered by My Theatre Mates contributor Aleks Sierz, first published on www.sierz.co.uk.
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.
Asterion wanders through the night, in a world that doesn’t really fit them. The minotaur of Greek myth, Asterion is the only one of their kind to exist. Asterion is bull-ish, neither human nor bull. Or, both human and bull.