London has an abundance of pub theatres, and the Old Red Lion in Islington is one of my favourites. The space is tiny with pew-like seating on two sides of the tea-tray sized stage.
The coronavirus pandemic and lockdown has thrown a whole new light on certain plays, the ones about isolation, loneliness and surreal landscapes.
Not to let a decade of theatre bloggery go by without marking the occasion, to kick things off, I’ve compiled a list of my favourite play for each year I’ve been blogging. It has been fun revisiting my best-of lists but absolute agony narrowing each list down to just one.
Here is a snapshot of my favourite theatre from the past 10 years, the plays that stand out most in my memory, the ones I talk about if people ask.
It’s not a joke waiting for a punchline, rather it’s something I’ve been puzzling over ever since I had my view and enjoyment of a play disturbed not once but twice by latecomers.
Pinter Six of the Pinter at the Pinter season is the first that I can say I quite enjoyed but it didn’t stop a nagging question I’ve had for a while: Was Pinter a misogynist? I’m not alone as it was the first question in the post-show Q&A with director Jamie Lloyd and cast members Celia Imrie, Ron Cook and Abraham Popoola.
Starting off 2019 with plenty of theatre in the diary, these are the nine plays Rev Stan is particularly looking forward to seeing.
A theatre announces that a classic male role will be played by a woman and gets a plethora of headlines as a result. While giving a woman a meaty, lead role is something to be applauded, it exposes the shortcomings in onstage equality in theatreland. Gender swapping characters isn’t fresh, new and exciting, it’s starting to feel overused, calculated and like lip-service.
When tickets went on sale for the concluding play in Jamie Lloyd’s Pinter at the Pinter season – Betrayal starring Tom Hiddleston – those who had already booked tickets for other, arguably less commercial plays, were given 24-hours priority booking.
There’s a lot we can learn from her – so to celebrate the show’s (almost) eighth birthday, here are eight ways we can all #BeMoreMatilda…
Theatre is supposed to reflect society, challenge and change but how can it do that when its programming doesn’t fully embrace the full gamut of ethnicity, sexual orientation and balance of gender?