I feel like I’ve known writer Sarah Rutherford for years… that’s one of the positives of social media. (We follow each other on Twitter.) The irony is it’s her new play, The Girl Who Fell, about some of the negatives of social media that finally precipitated my meeting her in person.
A philosophising cat, a famished dog and a family of mites all make appearances – and strong impressions – in Mites, a new play by up-and-coming young British playwright James Mannion, written in the best traditions of the Theatre of the Absurd.
Mate Terri Paddock chaired a post-show discussion at the West End revival of A Day in the Death of Joe Egg with director Simon Evans and the cast.
Why revive the play in 2019? How are people separate from their beliefs? What happened to the real Combat18 (and what does its name stand for)?
What fun to return to the Criterion Theatre to see a brand-new cast put their stamp on Mischief Theatre’s The Comedy About A Bank Robbery, as the first in a series of monthly post-show Q&As with the comic geniuses. Watch the full discussion.
At this year’s annual HighTide Festival in Aldeburgh, Suffolk, I was privileged to chair an hour-long “In Conversation With” platform discussion with legendary director Deborah Warner, reflecting on nearly 40 years in the business.
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?