I resolutely wasn’t doing a round up for 2020. I mean what on earth were we going to round up? This year has, with no exaggeration, broken our hearts in theatre. There’s no other way to put it. We watched our industry disappear overnight. We…
I accidentally wrote a viral tweet. It came out of a moment of possibly ill-thought frustration. Out of feeling brushed aside, dismissed one too many times. But wow did that tweet resonate.
Rent recently marked its 24th anniversary since its Broadway opening. Every year I try to write something. This year, in particular, it seemed important to.
My play Paper Cuts went live on Bloom Theatre’s YouTube channel last month. This play was a long time coming… hopefully, this isn’t the end, and it’s got a way to run.
I’ve struggled to write about theatre at this time. To be honest, I’ve struggled to write anything about anything. It took me weeks to get my head remotely functioning.
For every introverted socially awkward nerd Romantics Anonymous feels like seeing your fears and secrets on stage without being mocked.
And so here it is… my top 10 musicals of the decade. It turned out to be a slightly emotional journey. But it turns out musicals meant a lot in that time and I’ll fight anyone who says musicals aren’t a serious artform.
This isn’t a ‘best of’ list it’s my best-of list, these are the plays that shaped me this decade and will stay with me well into the next.
For anyone who has been under a rock for the last couple of years in London theatre, this stripping back to the essence of a classic is one of Marianne Elliott’s (many) talents. And here with Death of a Salesman, with co-director Miranda Cromwell, the play is written again from the ground up. Without changing a word.
It is not to diminish the historical elements, the research and indeed the politics of the play, to say that its power and its joy is in storytelling.
I thank all the theatre I’ve endured that has perhaps made me a better person, but in future I’ll be asking first just how much joy it’s going to bring me, and if I’m perhaps better off elsewhere.
On the top layer, Waitress is sweet and fun with beautiful ingredients in the form of a stellar cast. But dig a little deeper and we find there are a lot more layers to the pie.
I could have written a rave review of Come from Away. But what I couldn’t get out of my head was how important a piece it feels in terms of recording history. As a former history teacher, and as an academic who looks at theatre’s response to real-world events… I wrote an essay instead.
Fascinating All About Eve is, engaging perhaps not always. But anyone hoping for the same level of emotional payoff that Anderson’s other stage roles have demonstrated will likely end up frustrated with Eve.
I’ve spent this last couple of weeks thinking about Rent a lot. It’s not unusual to think about Rent. For me it’s always kind of there, in the background.
I wanted to record all the productions in 2018 that had had a profound impact on me, so here is the collection that will be with me for a long time.
Emily Garside rounds up her Top 10 shows of 2018.
The Other Room has established itself as the Channel 4 of Christmas in Cardiff, with its alternative Christmas show. And this year, up and coming company Big Loop is resident with Cheer.
Directed with intelligence, and a clear passion from Matthew Holmquist and with writing that balances a particular brand of Cardiff humour with universal themes and important questions, Cardiff Boy is an engaging yet emotional piece of work that is beautifully created and performed.
Tuck takes us on a journey of sequins and glitter that eventually blur through tears. It’s fierce and fabulous and goes out fighting.