While the reign of Charles II ushered in a libertine ambience in 17th century Britain, the two people who exemplify the spirit of the age were women – and ‘known’ to the king himself.
Did seeing fascist Tommy Robinson denouncing Muslims and immigrants on a big screen in Whitehall terrify you? What are the long-term consequences of today’s political rhetoric in Trump’s America and Brexit Britain?
Liane Grant’s ‘hard-hitting’ new play Half Me, Half You anticipates the long-term consequences of today’s political climate in the US and UK. We’ve rounded up review highlights.
Liane Grant’s provocative new political play Half Me, Half You has now commenced its UK premiere season at London’s Tristan Bates Theatre, where it continues until 6 April 2019. Scroll through our gallery of first-look production photos – and then get booking!
What do you do as an actor if you don’t know where you fit in? We catch up with Half Me, Half You’s Kalea Williams on diversity, creating your own work and why this play is so relevant to right now. Time to get booking!
Female-led with diversity at the heart of the play and the production. What have the company of the UK premiere of Liane Grant’s provocative new political play Half Me, Half You been up to in rehearsal? Scroll through our gallery of fun rehearsal photos – and then get booking!
LLLC’s Emma Clarendon chatted to Emily Curtis & Lauren-Nicole Mayes about starring in Eggs at the Tristan Bates Theatre.
Can art help to combat hate crime? Outrage over Donald Trump, Leave Means Leave and much more, including the real-life experiences of close friends, inspired Liane Grant to write Half Me, Half You, which now comes to London’s Tristan Bates Theatre after a successful New York run. Check out our interview below – and then get booking!
How often do you ask yourself this question: Do you love this planet? No, but seriously, do you really love this planet? How much? And how much are you willing to sacrifice to prove it in the face of impending Armageddon? What are you actually doing?
Not going to lie. This devised piece – which was 60 minutes straight through – was not what I was expecting. It can be quite difficult to critique such a short play, but I spent more time laughing at Americat than being emotionally moved as I had anticipated. (This was quite a relief!)