Following a performance of ANIMAL at the Park Theatre, I was joined by star Christopher John-Slater, playwright Jon Bradfield, cast member Matt Ayleigh, and Joshua Hepple, whose brilliant initial idea made the whole thing happen.
After One Who Wants to Cross at the Finborough in February, I’m thrilled to chair the post-show talk for another new play care of Clarisse Makundul Productions, Makundul’s own Under the Kundè Tree at Southwark Playhouse Borough.
Following the news of Paul O’Grady’s unexpected death, this specific performance of The Way Old Friends Do at London’s Park Theatre was dedicated to the comedian and drag legend, whose voice opens the show. Writer and star Ian Hallard paid tribute to O’Grady before curtain-up, and we started the post-show talk with Ian and director Mark Gatiss recalling how enthusiastically O’Grady recorded his voiceovers – despite not loving ABBA.
Calling all ABBA and new writing fans! I’m delighted to return to the Park Theatre for the premiere of The Way Old Friends Do, written by and starring Ian Hallard and directed by Mark Gatiss.
This new production of Georges Feydeau’s early 1886 farce A Tailor for Ladies, which Penny Tomai has translated and co-adapted with director Lee James Broadwood, marks Medley Theatre Company’s debut, with a two-week season at London’s Cockpit Theatre where an international ensemble switches up halfway to allow actors to take on different roles.
Following the 5.30pm performance on Sunday 12 March 2023 at London’s Cockpit Theatre, Terri Paddock talks to cast and creatives of A Tailor for Ladies. Georges Feydeau’s early 1886 comedy A Tailor for Ladies is getting a rare London outing in a new modern adaptation performed by an international ensemble cast.
For the first full production at Southwark Elephant, artistic director Chris Smyrnios has cleverly programmed this slick revival of leading Irish playwright Enda Walsh’s The Walworth Farce, which is set nearby, in a council flat on the Walworth Road.
Winner’s Curse at the Park Theatre, conceived by former diplomat and veteran of countless Middle East negotiations Daniel Taub, is a highly topical piece. It not only lifts the lid on what happens behind closed doors during peace talks but also educates the audience on negotiation theory and allows us to put some of that theory into practice.
A note in the programme for One Who Wants to Cross cites a sobering statistic: according to the 2020 IOM World Migration Report, the number of international migrants, as of June 2019, had reached almost 272 million. That’s 51 million more than were estimated nine years earlier in 2010.
How central are Gertrude, Claudius and Polonius to the story of Hamlet? If you remove those adult characters – the prince’s mother, uncle/stepfather and the father of his one-time girlfriend, respectively – and the scenes that revolve around them, what are you left with?
Following the 7.45pm performance of Enda Walsh’s acclaimed 2006 play The Walworth Farce on Tuesday 28 February 2022 at Southwark Elephant, I’ll talk to creatives and cast. Any questions? Join us!
I’m at London’s Finborough Theatre in February for the UK premiere of Marc-Emmanuel Soriano’s multi-award-winning French play One Who Wants to Cross (Un Qui Veut Traverser), directed by Alice Hamiton.
Not long left to catch Life of Pi in the West End. If you possibly can, I recommend you beg, borrow or steal to get one of the last remaining tickets – or plan ahead now for the five-time Olivier Award-winning play’s 2023/24 tour.
For the post-show talk for new play Wickies: The Vanishing Men of Eilean Mor at the Park Theatre I was joined by writer Paul Morrissey and his all-Scottish, three-strong cast: Jamie Quinn, Ewan Stewart and Graeme Dalling.
To celebrate the re-release of Original Theatre’s critically acclaimed, on-demand online production of Into the Night: The Story of the Penlee Lifeboat, and to commemorate the 41st anniversary of the real-life disaster, I’ll chair a FREE online discussion with playwright Frazer Flintham and Michael Sagar-Fenton, Cornish author of the book on which the play is based.
After a spine-chilling post-show talk for ghost story When Darkness Falls last year, I’m looking forward to reuniting with writer Paul Morrissey at London’s Park Theatre for his latest new thriller, Wickies.
One of the few things I enjoy even more than theatre is talking politics. So chairing a post-show discussion about a brilliant new political play, written and directed by a Westminster insider and lifelong activist, really is my idea of bliss. At the White Bear Theatre, I got to do just that for Triggered, Emma Burnell’s new play about a fictional deselection of a Labour MP ahead of the 2019 General Election.
Hot on the heels of my post-show Q&A for Doctor Faustus, I’m pleased to announce I’ll return to Southwark Playhouse in January to continue my long-time association with Lazarus Theatre Company, discussing their brand-new production of Shakespeare’s Hamlet.
I’m thrilled to reunite with Troupe – after events for acclaimed productions including The Sweet Science of Bruising, Rasheeda Speaking, Dear Brutus and The Cardinal – to chair a post-show Q&A for Simon Reade’s new adaptation of Christopher Isherwood’s 1964 novel A Single Man at London’s Park Theatre.
What might entice you to sell your soul to the devil? Fame? Riches? Immortality? World peace? A rent-free London flat? Four pints of Guinness? At my post-show Q&A for a production of Doctor Faustus, that was an irresistible question to pose to the company. But before that, we covered much else to do concerning adaptation and the creative process, with a lot of fun and laughter.