You've always believed that words have superpowers. They can bring out the strongest emotions and form the most elaborate stories. They can create new worlds, make people laugh, help you fall in love and spread empathy and understanding. But what if your words aren't listened to?
When you travel 200 miles to see a stage version of one of your favourite films, the cost of transport, theatre tickets and hotel soon adds up. Thankfully £21 (restricted view) was a bargain for any birthday treat. And the fact Groundhog Day not only recrafts Bill Murray's best film for the stage but enhances the source material was a present I never expected.
If anyone asks this August how my play about fearlessness is going, I happily tell them I'm terrified.
Today the world's biggest art festival hits Edinburgh's gardens and closes for three weeks! The city's population doubles in size as people from all over the world flock to the streets and the various festival venues. The streets are filled with performances and exhibitions, actors arrive at bars in their outfits post performance and bars and clubs are open late - 3 am and 5 am.
As part of London Writers' Week 2016, I recently chaired two panels on theatre publishing and diversity. The speakers were Rob Drummer, Associate Dramaturg at the Bush Theatre, and George Spender, Senior Editor at Oberon Books.
Christopher Biggins, already the favourite to win this year's Celebrity Big Brother is best known as a media personality and pantomime favourite. But ...
My hope is that the future of theatre is emancipated from these limitations, that gender stops being used to define who we are or what we are capable of. In our lives we empathise and connect on a human level, beyond race class age and gender - shouldn't the arts reflect that too?
The 20th-26th June marked Refugee Week. Many events took place over the course of the week to celebrate refugees in Birmingham, such as the Celebratin...
Depressing times. And a depressing novel. But there is no way this is a depressing show as Robert Icke and Duncan Macmillan collaborated to create an electric production that hurtles through its 101 minute running time. This is Orwell on speed.
In September this year we are set to open a new studio theatre at Greenwich Theatre, and for the opening production we have chosen to develop Cassiah Joski-Jethi's Under My Thumb, a play first written as a 30 minute short piece and shortlisted for this year's inaugural RED Women's Theatre Awards.
Before seeing any performance, I quite like the idea of not knowing a great deal about the story or production beforehand. Even if I had re...
It feels strange writing an article about the play I saw in Liverpool recently - a play about the First World War - because the news is filled with so many shocking killings: the shooting of 49 young people in a nightclub in Orlando, Florida; the vicious murder of Jo Cox, a young Labour MP in Yorkshire.
The most surprising thing about Edward Snowden's revelations was how unsurprised we all were by them. The dystopian visions of our most paranoid friends had been confirmed and we all kind of shrugged and added a capital letter to our password which we later changed back to lower case because it was too difficult to remember.
A few weeks ago, after a stressful day at work in the city I came home to find Ed stretched happily across the sofa like a contented cat who'd got the cream. He told me he'd realised that in London you can do literally anything you want. And I guess that, funds allowing, that's pretty much true.
We're working on the most difficult scene in FABRIC; the rape of Leah and even though I wrote it it's still hard to watch, to hear the words, see the ugly violence happening.
Originally from the Jordanian city of Madaba, the Sawalha family includes actors like Nabil (Lara's father), Nadim (Lara's uncle), Juila and Nadia Sawalha.