We continue our Featured Content series around Eleanor of Aquitaine: Mother of the Pride, now released on audio care of Tara Theatre and B7 Media. Watch these video snippets of 92-year-old Eileen Page’s ‘herstoric’ and regal performance in the one-woman play that she’s made her own – and then get ordering!
Eileen Page first played Eleanor of Aquitaine in 1964, but it wasn’t until many years later, when she was 70, that she first laid claim to the one-woman play that has so firmly associated her with the role. Have a look at and listen to our interview with her as that legendary performance is now released on audio by B7 Media.
“A superlative performance”. For over twenty years, Royal Shakespeare Company veteran Eileen Page became firmly associated with Eleanor of Aquitaine, thanks to Catherine Muschamp’s one-woman history play. Page gave her final stage performance in the role last year at Tara Theatre. As that legendary performance is now released on audio by B7 Media, here’s a snapshot of what critics say.
Royal Shakespeare Company veteran Eileen Page gave her final stage performance last year at Tara Theatre, reprising her legendary performance in one-woman history play Eleanor of Aquitaine. Tara Arts has teamed up with independent producer B7 Media to release an audio version of Page’s performance, now available to purchase on CD and digital download (priced £9.95).
Eastern Star is intriguing and for the most part engaging discourse around the intersection of journalism and dissidence but, despite its revision since last year, it still feels like work-in-progress in places.
As it’s the first of the month, we’re taking a moment to remind ourselves of the most popular contributions from our 20+ syndicate Mates bloggers from the month just closed. What were the reviews and other blogs that got readers clicking most? Any surprises? Our Top 25 Mates Blogs from November 2017 are listed below with summaries and links to read more.
Neil Gore’s retelling of this story is one equally full of passion and guts; one which honours and pays homage to a poignant moment in socialist history.
Guyanese folk stories, grime and anime references; Joseph Barnes-Phillips’ Big Foot pulls on a multitude of references to build a diverse show that excites, moves and challenges it’s audience.
In Hassan Abdulrazzak’s Love, Bombs & Apples, Asif Khan became a mesmerising shape-changer, adopting different Muslim and Jewish personas as varied as pugilistic to down-trodden. Taking up the writing reins himself, Khan now takes a deeper look at one of Abdulrazzak’s characters, a disaffected Bradford youth.
A quote by Naguib Mahfouz resonates with Ellams’ story, “Home is not where you are born; home is where all your attempts to escape cease”. Ellams and his tightknit family are constantly attempting to escape, to belong.
At a moment in British history when the political discourse around the contribution of (at least part of) the immigrant population has never been more highly charged, Patricia Cumper’s Chigger Foot Boys could not be more timely.
Sonia Friedman and Sheffield Theatre both achieved hat tricks at The Stage Awards, announced today, winning, respectively, Producer of the Year and Regional Theatre of the Year for a third time.