I thought it was especially interesting to have lighting designer Nigel Lewis involved in the discussion – I was fascinated to hear how terrifying it was for him to plunge the stage into darkness for a lengthy portion of the evening.
Are you worried about the state of politics and society in the UK today? That’s the question I asked at the start of my post-show Q&A for At Last at London’s Lion & Unicorn Theatre.
Arrows & Traps’ 18th production in its five-year history is also its tenth at London’s Brockley Jack Theatre, where it is now an associate company, and its third in a Gothic trilogy. And it’s a corker.
A musical about loss of rights, freedoms and humanity as a far-right populist party takes over a once-liberal society? Nothing familiar about that…
We were all madly checking our phones for news in the bars afterwards, but while Westminster dramas were going on, at Wilton’s Music Hall this week, we were getting to glorious grip with the (affectionate) comedy potential of the monarchy with The Crown Dual.
How does it feel to go over Niagara Falls in a barrel… and survive? Michael John LaChiusa, who wrote a musical on just this subject, was on his way back to the States by the time I chaired my post-show Q&A to his Queen of the Mist.
Can we ever really know what happened between two people behind closed doors? That’s the question at the heart of Anna Zeigler’s provocative new two-hander Actually, and one the company, audience and I grappled with after last week’s performance at Trafalgar Studios.
I had just enough time to wipe away my tears – I was sobbing – at the end of The View Upstairs before jumping up after the curtain call to announce this post-show Q&A at Soho Theatre.
What is it about a great whodunnit thriller? What makes us keep turning the page? How does that inquisitive excitement translate onstage?
After The Girl on the Train post-show Q&A, director Anthony Banks and I had to squeeze in another one together to his second current hit in London, Games for Lovers – which also meant I got to return to The Vaults for producer James Seabright’s third offering this summer.
How many different ways can one play be interpreted? The company of Equus were very keen not to impose their opinions but the audience at last night’s post-show Q&A at Trafalgar Studios had plenty of their own. Which were right? All of them! And what a knowledgeable audience it was. Many had seen this or other previous […]
After chairing events for London transfers of Creation Theatre’s The Pit and The Pendulum and Dracula, I was chuffed to be invited to see them on their ‘home turf’ in Oxford and host a post-show Q&A for their new gaming take on Shakespeare’s The Tempest.
A quick show of hands at this week’s Q&A at the Park Theatre confirmed my suspicion: most people, even left-leaning people, have not heard of Howard Zinn. Like those in the audience, before this show, I counted myself amongst them. So by that measure alone, Bianca Bagatourian’s The Time Of Our Lies is a success.
How did New Old Friends come to adapt Anthony Horowitz’s 1986 children’s novel The Falcon’s Malteser into a hit family stage show? What do the kids (including a keen young Spider-Man!) – and parents – in the audience think?
The “High Priestess of Soul” Nina Simone was born Eunice Kathleen Waymon in Tryon, North Caroline in 1933, the sixth of eight children. Though she passed away, aged 70, in 2003, she lives on musically with her enduring standards including “I Put a Spell on You”.
I was mesmerised by this time-hopping, Dublin-set urban poem – originally commissioned for a spoken word festival – which, over the course of ninety minutes, captures one day and a multitude of moments and feelings in the lives of three generations of an Irish family.
Terri Paddock was joined by Matthew Broderick, Elizabeth McGovern, Rosalind Eleazar, Jim Norton, Sinead Matthews and Sid Sagar to discuss the history of Kenneth Lonergan’s beautifully delicate play The Starry Messenger.
Remember D:Ream’s “Things Can Only Get Better”? I was bopping along in my seat to that New Labour anthem and so many other chart-topping hits from my youth before curtain up at Education Education Education last week at Trafalgar Studios.
With the horrific news this past week of the lesbian couple who were taunted and physically attacked by a group of male teenagers on a London nightbus, the themes discussed at Terri Paddock’s recent post-show Q&A – including the urgent need to for LGBT+ inclusivity education in schools – become more worryingly timely than ever…
After The Play That Goes Wrong, I closed out #MischiefMay last month, celebrating the world-dominating achievements of the comedy masters at Mischief Theatre, with my second of two post-show Q&As to the company’s two current West End hits.