God's Property is a new play set in 1982 - a time of inner city tensions, unemployment and riots. The timing of the play, written by Soho Six writer Arinze Kene, is apt.
If you go to one theater performance this winter, make it the Persona Company's production of Aimé Césaire's epic poem Cahier d'un retour au pays natal.
mmersive theatre often treads the fine line between enhancing experience and aggressive involvement. What starts as engulfing theatrical aggrandizement can quickly trip into the realms of terrifying audience participation - and only attention - hungry stage botherers really enjoy on-stage participation, or those of masochistic temperament
2012 has been a year of outlandish happenings, from the mundane to the absurd. Wikipedia spent 24 hours offline, rendering every University student in the country capable of Key Stage 2 curriculum only.
If you thought the UK premiere of Enda Walsh's one-man play Misterman would drown in the National's cavernous Lyttelton Theatre, you'd be wrong. Clearly aware of the space he has to fill, Cillian Murphy has already inhabited every nook of the divided stage and thrown oil drums into the crannies he's missed before the first five minutes are up.
I have occasionally blogged advice on the perils and pitfalls of staging a show at the Edinburgh Fringe. But it really requires a whole book - which is what Mark Fisher has now done.
If Ready Steady Cook sh*gged Come Dine With Me after smoking the pubic hairs of David Lynch, rolled up in the pages of Friedrich Nietzsche's The Birth of Tragedy - Pass the Spoon would be the love child from that wildly wonderful evening. A triumph.
This is a different Hamlet. It is fully accessible, but wholly unusual. It is set in a mental asylum/prison. The main set is a circle of institutional chairs. Featuring magic, horror, child's play and dream it has more in common with an adult's therapy session than a traditional West End performance.