I got to enter the boxing ring at London’s Southwark Playhouse to chair a post-show Q&A at Troupe Theatre’s world premiere production of Joy Wilkinson’s The Sweet Science of Bruising.
As tickets go on sale today for the 16-week, by-overwhelming-popular-demand West End return season of SIX The Musical, here’s a must-watch (or watch-again) video for you: Terri Paddock chaired a post-show Q&A with the sextet of queens and writers Toby Marlow and Lucy Moss as they started their current, widely popular sell-out season at the Arts Theatre.
MyTheatreMates teamed up with co-founder Terri Paddock to live-stream and live-tweet this week’s KIDS PLAY post-show Q&A at London’s Above the Stag Theatre. You can find our social media coverage on @MyTheatreMates Twitter and Facebook. Here’s Terri’s own write-up…
Should country of birth define your identity or determine where you end up? Set in the near-future, Stand and Be Counted Theatre’s highly political new play Where We Began imagines a world where a new universal law mandates that everyone must return to where they were born and stay there.
How much do you know about the Spanish Civil War (1936-1939)? Who fought on the side of the Republicans and who for the Nationalists? What happened to those who got caught in the middle, such as Paulino and Carmelo in Jose Sanchis Sinisterra’s Ay, Carmela!?
At the Omnibus Theatre last Wednesday, Blood Wedding’s 7.30pm start time was delayed as one of the actors was trapped on a broken down overground train. I was already there to chair a post-show Q&A with adapter/director George Richmond-Scott so we decided to make it a pre-show Q&A.
How do you buy drugs online? What was Silk Road? Could the libertarians on it actually be steering us towards a more humane drug policy? Or is a play about this dark-web marketplace glamourising drugs?
At the Knights of the Rose post-show Q&A, the fun-filled audience discussion included riffing demonstrations, costume quips, a Wicked confession, coining of the term “rockspeare” for the show’s new genre combining classical text with classic rock music, and a milestone birthday sing-song.
Are women punished in drama for liking sex and drink? What has modern classic The Rise and Fall of Little Voice got in common with Greek drama? What’s the secret to vocal impressions?
Andrew Lloyd Webber came up twice in conversation at this week’s post-show for It Happened in Key West. The second pertained to the title of the show which, many years ago, when Jeremiah James was first inspired by a late-night television documentary about Count Carl von Cosel.
If you had to choose just three Hollywood legends to build a theatre show around, who would you choose? For Sirens of the Silver Screen, Beth Burrows selected Judy Garland, Audrey Hepburn and Marilyn Monroe. At last week’s post-show discussion hosted by MyTheatreMates’ Terri Paddock at the Tabard Theatre, she explained why she did, how much fun she had researching each and to which she feels most connected.
If you’d never heard of the James Stagg before David Haig‘s latest play Pressure, don’t feel bad: neither had he. The writer/star discussed this and much more at the post-show Q&A chaired by Terri Paddock.
Audience member Jessica McClellan at the Omnibus Theatre tweeted that last week’s post-show discussion for The Yellow Wallpaper was “deep AF” (I’ll assume you know what the AF stands for in social media speak…).
Check out the (nearly) full-length Q&A video below for more on the delicacies of rehearsing and performing such a sexually graphic piece, the secrets of Liz Ascroft‘s phenomenal set, a team of veteran creative geniuses, political resonances, generational divides – and a surprising amount of laughter for a play about a modern plague!
Two scratch-your-head stats shared during my post-show Q&A for Schism at London’s Park Theatre: one, less than five percent of the UK population has dated someone with a disability, and two – wait for it – only one in four have even had a conversation with a disabled person.
Some of the language in Simon Stephens’ 2003 play One Minute sparked a local controversy in Cirencester amongst some theatregoers who found it to be excessive, unnecessary and offensive. The Barn Theatre embraced the feedback and made it a focus of the post-show Q&A chaired by Mates co-founder Terri Paddock on 25 May 2018…
Another post-show Q&A first for me. Due to a last-minute scheduling conflict, Spanish playwright Guillem Clua had to cancel his flight to London to attend his acclaimed two-hander THE SWALLOW at the Cervantes Theatre this week, but he desperately wanted to take part in the post-show discussion on Tuesday night – so the game team at the Cervantes slung up a big screen onstage and Guillem Skyped in from Madrid.
Olivier Award-winning cabaret artist Christopher Green is performing as his latest stage creation, Music Hall Monster: The Insatiable Fred Barnes, at Wilton’s Music Hall now. Have you seen some of his other incredible, and incredibly different, character creations? Watch him perform as Fred, Tina C, Ida Barr and Regina’s son Rex.
There are good intentions all round here, and a real desire to raise awareness, understand different perspectives and encourage a diverse range of voices onstage.
What a provocative play and post-show discussion! Are we all racist? How different are racial relations in 21st-century America versus Britain? How do we get more unheard voices onstage? Can white men tell valid stories about minority groups? Should they?