A year on from the terrorist attack on Westminster bridge, Our Big Love Story came to the Hope Theatre, a play set around a teacher and four students in the wake of what became known as the 7/7 bombings.
When it comes to looking at racism and what it is to be black, we are currently in a phase of importing US stories rather than encouraging and platform black British writers.
Miss Nightingale is a charmingly sweet musical which has a heart. I love the fact that it’s gone against the trend and does not have your predictable archetypal ending. It’s full of character with an eclectic musical taste which should suit most audiences.
Thanks to two blisteringly good performances from Kae Alexander and Kirsty as the two sisters, the key themes of faith, loyalty, and the role of sacrifice and self-sacrifice for the ones we love, are dramatised beautifully by director Indu Rubasingham who builds up the tension wonderfully in The Great Wave.
We need more representation from minority backgrounds, fewer white people, fewer middle/ upper-class reviewers, more representation from people with disabilities… If we don’t, theatre just will not change. And it must if it is going to have any kind of relevance.
So, there’s promise, for sure. But the fact that I can condense much of what the creative arts has explicitly offered on depression into one short blog means that there is still much more we can do.
There’s this terrible balance between keeping the list short enough to hold attention but making sure great shows get shared. Hence why I’ve been defeated here, yet again, and we have a top twelve.
Now, straight off the bat, this isn’t a dig at Rufus. No, that’s not what this blog is about. Rather, it’s some comparably small suggestions that I think could bring about real meaningful change both at the NT and at other producing theatres.
The Shadow Factory showcases the stupendous technological capability of this new theatre. It gives us a taster of what can be shown here and this in itself excites. A fitting inaugural production from a theatre for the people of Southampton.
Polymath, poet, storyteller, songwriter, visual artist …and arguably one of Britain’s greatest living playwright’s, Philip Ridley’s work is always full of surprises.
Like many others, I have my hopes, even expectations, on the change that women may bring. But this is not for me to burden women creatives with. They already have enough of a challenge as it is just to get a break.
There is nothing about Gundog at the Royal Cout that will make you feel good about where we are today. It is a dark and disturbing tale about the state of play in modern rural Britain. That means it won’t be for everyone, but I was mesmerised.
Well, we’re truly into 2018 now and there’s plenty to see. From anarchic punk riot to classic mysteries, from Shakespeare to Dylan, and from troubled masculinity to a woman’s battle with depression. It’s such a terrific list; I can’t wait to see as many as I can.
There is so much to admire in this revival that it’s hard to know where to start first. Let’s go with Lucian Msamati. I maintain that he was cruelly robbed of at least acknowledgement and nomination in the various end-of-year award shows.
Lia Williams and Juliet Stevenson are both extraordinary in Mary Stuart at the Duke of York’s Theatre, but the level of sexualisation, sexual violence and assault in the depiction of these two powerful women concerned me immensely.
Dietrich – Natural Duty, as part of the VAULT Festival, flies by and ends at the perfect moment. It’s such an interesting piece that you’d like more but are satisfied that you have been educated and thoroughly entertained. Peter Groom as Marlene Dietrich is enigmatic, engaging and totally captivating.
Woman Before a Glass at Jermyn Street Theatre, London, places the focus on Peggy Guggenheim – a pivotal figure in the 20th century art scene – and is a hugely enjoyable show that demonstrates how a true passion can last a lifetime.
This Curve staging of Sunset Boulevard successfully manages to keep the glamour and scale required of a show documenting the golden age of Hollywood whilst making it suitable for a touring company.
Gecko’s seventh touring production, The Wedding, is an artistic exploration of a number of sociopolitical issues still present in our world today.
With some super performances, smart direction and staging, this is a production that is well worth seeking out.