Off the Cliff’s production of Luigi Jannuzzi’s 1981 short play A Bench At The Edge at the Tristan Bates Theatre is an enjoyable and sensitive production of a thought-provoking and off-beat comedy.
As part of her ongoing post-show Q&A series, Mates co-founder Terri Paddock is back at Tristan Bates Theatre for the world premiere of Mites from Blueleaf Theatre. Got any questions for writer, director and cast?
The Geminus is an atmospheric new play by Ross Dinwiddy and is based on Joseph Conrad’s novella The Secret Sharer. By incorporating a romantic twist, Dinwiddy creates an emotional centre to the piece, which is so important when translating prose to the stage.
Full disclosure, I was not excited about seeing a show about Boris Johnson. Frankly I’m feeling a tad Boris-ed out these days, but fortunately, given a lively and plentiful audience, not everyone seems to be turned off by the subject matter.
This year I have the great privilege of getting to cover lots of the Camden Fringe shows, my only regret is that I can’t see them all (literally impossible, so many shows running, Londoners check it out, it is a treasure trove of varied goodies).
12 days, eight shows, one director – The Pensive Federation celebrates its fifth anniversary with a series of showcase pieces that are written, rehearsed and performed in such a short space of time. Two groups of actors are brought onside to perform four shows each, giving 12 days for 48 minutes of material.
I sometimes wonder how anyone makes sense of my artistic taste and my direction of travel. This last week has been a particularly rich menu and by the end of this blog I may have found a common theme.
I can’t think of another play set like One of Those entirely on a train – Hecht and MacArthur’s On The Twentieth Century is the most persistently rail-bound but starts and ends in theatres, and even Patricia Highsmith’s murderous Strangers on a Train had their climax on a fairground carousel in Craig Warner’s stage adaptation at the Gielgud a couple of years back.