Playwright Jennifer Cerys’ new play Dandelion at the King’s Head Theatre explores queer history through a lesbian relationship in the time of Clause 28. Here she talks about why queer history is important and the need to diversify queer narratives in mainstream theatre.
It takes quite a play to bring tears to my eyes but, then, The Play About My Dad – set around the true stories of those who experienced Hurricane Katrina – is quite a piece of writing.
So, do I like Machinal? Yes, I do. I think it’s extraordinary (and depressing as hell) that such contemporary relevance can be found in a ninety-year-old text.
An Octoroon at the Dorfman Theatre at the National remains as incendiary as the day I first saw it. In fact, it has grown in magnificence.
Sigh. Ok, this is going to hurt because I’m such a supporter of women creatives and want to fight for more opportunities for them but Julie is awful.
Such a bleak, unexciting play is high risk, for sure. But if women’s lives are to be represented truthfully, then this is the risk that must be taken, and I applaud Emily Schwend for her bravery.
I really am incredibly excited about this month’s line up. And it was one of those months where it was a real battle to whittle the contenders down to my ten favourites.
What an achievement Effigies of Wickedness is. I adored it. It lifted me, and it broke me. It’s a godsend, a wondrous co-production between the Gate and the English National Opera.
Though it may lose its way, there is an ambition and complexity to The Writer – and an anger – that is worthy of its hype. It probably could have done with a bit more self-awareness, however, but nevertheless, for a few brief moments, I did finally see myself on a stage.
It is Alexandra Burke whose star shines brightest in this production of Chess. She oozes charisma and presence and at least she comes out of this show with her reputation not just intact but further enhanced.
Nine Night is a piece of feel-good theatre that continues the (at times, glacially slow) movement towards more diverse representation on stage and off.
Though I may have had my grumbles with Strictly Ballroom, I couldn’t hear a single criticism from the crowd as they flooded back out into the London night after the show finished.
Joe White’s play Mayfly is telling us please, hang on. So much can happen in a day. And the most surprising acts of kindness and generosity can come from the most unsuspecting of sources.
I’m loving the line-up for May so I’ve all my fingers crossed that you’ll find something in this list for you too.
I would recommend anyone to see The Prudes, I really would. It is damn hard to be this damn funny. Believe me when I say you will enjoy this play. You may even love it, and I would totally get that. But its missteps are entirely indicative of a male lens, which does make this problematic in parts. And that’s a shame.
The Kite Runner is powerful and quite brilliant production that investigates the complexity of power balances between people – and how these can fluctuate and change on the toss of a coin – with aplomb.
I have a love for shows with shiny, sparkly packaging that, underneath this tinsel, have a web of big issues and questions. Instructions for Correct Assembly is just that type of play.
The magnificent The Inheritance is an impressive play from Matthew Lopez that examines the tangled lives of a close group of gay men living in contemporary New York, charting their ups and downs, their laughs and their tragedies – all through a whopping seven-hour running time.
Spring is here (finally) and with any luck, we’ve seen the last of the snow so time to think about venturing out in our evenings, such as going to see some cracking theatre.
When it comes to looking at racism and what it is to be black, we are currently in a phase of importing US stories rather than encouraging and platform black British writers.