The other night I went and watched the theatre group I belong to rehearse for their forthcoming production of Fawlty Towers. I haven't acted since autumn 2013 and although it's not unusual for me to have a break from theatre for a while, this is probably the longest I've been gone from it.
If theatre is going to thrive then it must take risks. And the Almeida Theatre takes a risk with Game, a thrilling - and chilling - examination of the tipping point of our humanity that doesn't just excite and disturb, but also transforms the experience of theatre itself.
An actor's agent does not step into the spotlight; he or she is a figure in the shadows, buoying and navigating many dazzling careers. But what does shedding light on the figure of the agent tell us about films and film stars?
If the worlds we choose to conjure there don't have women in them (and in particular those who don't happen to be white, size 8, under 35, or able-bodied) isn't it a disappointingly skewed and now long out of date depiction of humanity we are reflecting?
The relationship between agent and actor is a peculiar one. Agents and their clients have mutually loyal and steadfast relationships, requiring a dynamic which is much more pastoral than is usual between employer and employee.
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.