Our Country’s Good still grips, it would take a very poor production indeed to ruin that, but you can’t help feeling that Anna Girvan hasn’t fully got to grips with this one. Theatre does change lives, but this production is unlikely too.
Ramps On the Moon’s Our Country’s Good delivers a production that seamlessly integrates actors with and without disabilities to produce excellent all-round performances.
As a progressive company, Ramps on the Moon is leading the way by showing what inclusive theatre looks like. It is encouraging that this fundamental innovation is coming from regional UK theatres: London has a lot to learn from them.
This is Cinderella by another name, and Wertenbaker goes beyond the glitter and the glib happy ending in the source to create a version which picks out the darkness and the morality of the tale.
Nottingham Playhouse is delighted to announce Adam Penford’s first season as Artistic Director, including multi-award winning drama The Madness of George III starring Mark Gatiss.
Wertenbaker’s play is set on the Winter Hill of the near future, as opposed to the not-so-near past, where a chunk of the land has been sold to developers who are constructing a luxury skyscraper hotel there, set to completely alter the way that the hill dominates the landscape and the town of Bolton below it.
You Me Bum Bum Train isn’t exactly a train journey, but it provided the ride of my life; I also made two separate train journeys to Yorkshire that provided musical and comic diversions of their own.
On this week’s podcast, London theatre bloggers discuss The Oresteia at the Globe (as opposed to the Almeida one previously discussed), Our Country’s Good at the National and Our House at the Union Theatre.
There is no such thing as “bad” language. Words – all words – are meant to be used. That is why they have evolved. But there is definitely such a thing as weak, repetitive, lazy language, and I hear far too much of it in the theatre. Take drama school graduate showcases, for example, which I often have to review. …
DRAMA AS REDEMPTION From the first moments Nadia Fall’s production sets brutal, bullying humanity against a hot, strange, majestic Australian dawn. A lone aborigine watches, silent on a great dark bare plain , as the land heaves beneath him and … Continue reading →
Food poisoning, the infamous “festival flu” or some other strain of (literally) gut-wrenching misery? Whatever it was, I became quite violently ill on the train journey home from Edinburgh yesterday. When we arrived at King’s Cross station in London, my partner Peter had to half-carry me into a taxi to take me home, where I […]