I had my own introduction to Ginger Johnson and Sink the Pink a year ago when I chaired a Q&A for How to Catch a Krampus, the first in a new queer trilogy at the Pleasance Theatre, which also marked the drag collective’s first-ever theatrical residency after a decade of mega club nights, festivals and glitter-doused parties.
How do you get SIX MILLION followers on Twitter? As someone who spends all day most days on social media, I’m staggered by the very notion. It must require divine intervention… of sorts. David Javerbaum has achieved it.
What part do costumes play in branding for The Play That Goes Wrong around the world? How are they made durable enough to survive eight performances a week of one of Theatreland’s most physical productions?
Are you fans of Isabel Allende’s The House of the Spirits? Allende’s multi-award-winning debut novel, released in 1982, charts four generations of one family from the 1920s and the 1970s, and how tightly entwined their personal fortunes are with political winds of change.
After several years’ development, the Royal Shakespeare Company’s highly anticipated new musical – an adaptation of best-selling children’s author David Walliams‘ 2008 debut novel The Boy in the Dress with a book by Mark Ravenhill and music and lyrics by chart-topping songwriters Robbie Williams and Guy Chambers – is gearing up for its world premiere. Ahead of […]
In The Good Scout’s final sell-out week at Above the Stag Theatre, Mate Terri Paddock returned to chair a post-show discussion with writer-director Glenn Chandler and his cast about the play’s frightening timeliness.
As the RSC’s latest staging of Shakespeare’s The Taming of the Shrew, here’s a throwback to when Mate Terri Paddock chaired a fascinating panel discussion in Stratford-upon-Avon around the themes in the play and production.
After Rat Pack Confidential and Sinatra and Me, Richard Shelton wanted to take a new look at the life of Frank Sinatra, on the eve of his (short-lived) retirement. Terri Paddock chaired a Sinatra: Raw post-show talk.
I’m a big fan of the late, Pulitzer Prize-winning American playwright (and Oscar-nominated actor) Sam Shepard. How wonderful to be able to see and discuss one of his late plays, Ages of the Moon, which now receives its UK premiere two years after Shepard passed away.
As part of an ongoing series, I’ve chaired post-show talks with various Mischief Theatre casts this year, all of whom waxed lyrical about the brilliance of the company founders. Last week, I had a chance to pose questions to those original mischief-makers themselves at their brand-new comedy Groan Ups.
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.
Did you know that David Hare’s The Permanent Way has a subtitle? It’s “La Voie Anglaise”… “The English Way”. This play is about more than just railways.
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.