Les Mis has passed it's 30th anniversary date and we are continuing to celebrate Club 24601 with our series of interviews with former Jean Valjeans. Today, it's the turn of Australian Dan Koek who played the role in 2013-2014.
This adaptation of the much-loved book, Jane Eyre, is a really ambitious attempt to translate the entire novel into a dynamic, energetic production. The result is a whistle-stop trip through the story that touches on every single event in the book, but doesn't always capture the emotion.
I write this because I am scared we are forgetting our humanity. Last night, someone called me asking for my support as they were being admitted to hospital. I did not think I should stay in bed and protect my assets.
It is my hope that the boycott will be cut short and art permitted to flow free once more in Israel. Let's keep culture as our own 'magic place', where the horrors and difficulties of this world can be put to rest, just for an hour or so.
This film is moving and empowering beyond words and afterwards I had a little cry in the toilet. These are our foremothers and finally their story is being told on the same scale as all the other men who have changed history (because they were allowed to). Every human needs to watch this.
In a week when we learnt that airboards are illegal to ride on the streets of London, the only way to console ourselves was to go to the theatre and think about our feelings.
The Father may well be one of the most emotionally devastating pieces of theatre I have ever seen. A play about dementia and its toll on those with it, and those who love them, is never going to be the most joyous of subjects but this production takes your heart into its hands - and then breaks it.
Revisiting Cathy now, with my forties in clear view, I miss how immense everything felt then (I certainly miss being able to spend an entire evening in the bath with a novel for company). That's why I think Wuthering Heights tugs at the hearts of generation after generation of readers. The vastness of it all.
I love Medea. For me, the horror in this story is when you feel her terrible act was not just inevitable but understandable. Even logical. Yet that descent, that terrifying unravelling, is missing in this new production at the Almeida Theatre.
How is it possible that the greatest lyricist that ever lived could come up with something that reads like the GCSE creative writing coursework of a morbid teenager who has just inhaled an entire thesaurus?
The interpretation is risky, yes, but theatre should be risky. And for all the theatrical spectacle and the clever tricks, you feel for Nancy, you really do. You're rooting for her and at the climax, when she understands what it is she truly needs, it's a great feeling. Tipping the Velvet is a bright, witty production - but it also has a heart.
Nicola De Maine has no previous experience of writing for publication. She recently joined the BATTLE LINES New Writing Programme run by Raise Dark Th...
7: It's only a film. You are not curing cancer, nor rescuing small children from famine or even dishing out soup to the homeless. You're stood in a North Face jacket getting pissed off because the biscuit selection is crap today. Directing is a job, but people have real jobs, people work harder and get paid much less.
I've long extolled the merits of spoken word and Simon Mole has previous for pushing, twisting and manipulating the boundaries of the art form.
I'm not going to go on First Dates. And I'll tell you why. Because I'm not up for having to eat a meal with a man with an oppressive beard who wants to do Jager bombs during a civilized meal as if he's out on the freshers lash at three in the morning.
With British Council funding we were lucky to spend a month in Bengal collaborating with Kolkata based theatre company, Ranan. We worked together in a studio and more significantly visited the Sundarbans - the largest single tract of mangrove forest in the world, three hours south of Kolkata. The Sundarbans is on the frontline of sea level rise.