If we want theatre to give a voice to the invisible and the marginalized, the fed up and the f****d over, then we need more theatre like this. If we want to understand that the erosion of workers' rights extends into the chipping away of their individual humanity, we need more theatre like this.
Every day I walk around (very quickly) trying to make sense of the world around me. I play with my kids, am wowed by their imaginations and have a good laugh (and cry) in the world of parenthood. I help artists share their ideas with different people and am wowed by their imaginations and have a good laugh (and cry) in the world of arts producing.
The Angry Brigade at Bush Theatre isn't subtle but it is energetic, powerful and brutally effective in punching its message across, that message being: look around you, people! This isn't freedom and we are not free!
[Camille O'Sullivan - Credit: Peter Williams] There were already high hopes, but the scale of ...
England's largest arts festival, arrived this weekend with a record 3,584 performances of 784 shows at 171 venues across the city for the entire month of May. Ticket sales are already 15% up on last year, meaning that we should be expecting audiences of close to 290,000 people.
With Damian Lewis and John Goodman in the cast, this production of David Mamet's American Buffalo was always going to be a box-office success. However, whether all those who pile in to see this show will come out raving about it, I'm not so sure.
After months and months of listening to television hosts and their guests take sides and beat each other up; after more than a year of 'gotcha' reporting and newsgathering; I was attempting to present, at this very specific time and place, a family talking, not yelling, not screaming, but rather one trying to listen to one another.
Golem is a dazzling visual feast with a biting social commentary that's enough to put a spring in the step of even the most jaded theatre-goer. In a show that fuses performance with animation, film and music, Golem challenges us to confront the lie that we've been sold - that technology will set us free.
I was intrigued to know why an absolute powerhouse of an actress, whose stellar career has so far spanned 4 decades in Theatre, Film and Television and shows no signs of slowing down, would be so interested in exploring Gender Equality in Theatre.
What follows is an account of gritty, gut-crumpling crime. A crime, that I am both proud and sad to say I single-handedly foiled.
It's important to take frequent breaks during your revision session. The brain is a muscle (not factually correct) that gets tired like any other muscles (do hearts get tired?). In order for a break to be effective, you must fully remove yourself from your working mindset. Dig a hole in the garden or annoy your sister a bit. Just keep the line between work and play clearly defined.
Wherever you look women's history and their stories are not given equal value. And this is easiest to see in the realm of drama and theatre, which have at their very basis the art of storytelling.
Here are my top 10 survival tips for those first few years in the real world... and for quite a few years afterwards actually.
Plays such as Michael Frayn's Copenhagen, my Oppenheimer or Complicité's A Disappearing Number are not truth - they are not documentary. What they do is introduce a scientific figure or a scientific idea, tether it to the structures of story and drama, and introduce an otherwise unknown aspect of history to a new audience.
There is a delicious darkness to Roald Dahl's original book about a vile and dirty couple who are rotten to the core. You relish their horrid plots and laugh at their wickedness. I desperately wanted this adaptation to capture that spirit but the result is not good, patchy at best.
I recently went to see "Beautiful", the Carole King bio-musical that follows her rise from Brooklyn bobby soxer to Brill Building hit machine. Does it get any better...a night of songs that feel like old friends?