I recently had the good fortune to play the sole female character, 'Curley's Wife' in Steinbeck's classic Of Mice and Men at Birmingham Repertory Theatre.
I found that one of the most enjoyable and interesting tasks of an agent's assistant is to submit the selections in response to a casting call, mainly because the agent's suggestions often baffled me, but also because I enjoy seeing the very earliest stages of a production.
As you would expect from an established West End star, musical choices feature quite heavily on the album, although it is nice to see some less well known songs from shows like Pippin which I enjoyed a lot.
SPID's latest performance Arthur's World, took the council estate to the attic space of the Bush Theatre. It was staged in an 'immersive' environment, meaning the audience were invited inside the fictional world of the play; character Arthur's council estate flat.
The glitz and the glam that supposedly embody Paris were put on hold; the world was watching Paris, but in the city itself, a reflective and emotional silence prevailed in the days following this tragic episode for France.
We need to make more theatre more accessible to more people so that they can understand the experience more easily. If we are going to do this, then surely the heartland of what is termed commercial theatre is not the place to start?
It's interesting what you remember and what you forget about a production. The tension, the gut-wrenching tragedy in the piece is as devastating as when I saw it last year. Yet I'd forgotten how good the sound and lighting design are.
Just as we do today, lovers in Ford's day, and in his plays, saw the heart as the symbol of love, but also as the core of our being, where we hold our most profound feelings.
The show revolves around a little shop in Budapest and two of its employees. Despite being consistently at odds with each other at work, through lonely hearts ads they unknowingly become each other's anonymous pen pals and a world of witty romance evolves.
Shearing layers sound, text and image. His pieces have no live performers; instead the work is designed to encourage audience members to engage deeply with the scenographic elements.
As an avid theatre attendee it is a pressing concern of mine - without crunching too many numbers or exhausting the topic - that the prize of theatre tickets in London's dazzling West End are increasing to astronomical heights.
The Hard Problem is Tom Stoppard's first new play since 2006's Rock & Roll and therefore this is a much anticipated production at the National Theatre. The Hard Problem in hand is simply, what is consciousness? But the play itself is actually hard going.
The plays scoot along exploring philanthropy and privilege, the motivation behind breaking boycotts, how the media spins everything in our modern world, how money corrupts even the simplest of day to day events, the exploitation of minorities and the distortion of history...
In this ever fast paced society we want the big stunts and need to gasp with our hearts racing before we will confess to being entertained. Are you not entertained, asked Maximus Decimus Meridius and Jay Z. No, not when the clowns are on we're not.
Shakespeare's classic tale becomes The Merchant of the Venetian as director Rupert Goold replaces the play's traditional setting of Venice with the casino floors and glitzy lights of Las Vegas, complete with Elvis impersonators, Vegas showgirls and even Cirque de Soleil-style gymnasts.
It's almost impossible to be really happy with something you've done yourself. But does the script best represent your writing? Has it got passion? Are any boring, overwritten bits definitely gone? Have you had enough feedback and done enough re-writes to be confident that this is your best attempt?