Kat Mokrynski - Page 10

Midsummer Nightmare, created by Midnight Circle Productions, is a Gothic adaptation of Shakespeare’s A Midsummer Night’s Dream, is currently touring outdoor spaces in the UK. The particular performance I attended was in the garden of Keats House, which works perfectly as the poet John Keats who lived there was heavily inspired by the Bard.

Recently, we had the chance to talk with Casey Nicholaw, the director and choreographer (along with co-choreographer Tanisha Scott) of this production. We discussed the show’s journey from Germany to the United Kingdom, some of his favourite songs and advice he has for those looking to get into the world of theatre.

Recently, we had the opportunity to chat with James Cooper, who wrote the book and lyrics for Lovestuck. We discussed what it’s been like to work in the theatre industry for the first time, what it’s been like to create for a variety of mediums and what he hopes audiences take away from this new musical.

Last night may have been one of the most English evenings I’ve had since moving to London several years ago. Sitting in a private garden near Hyde Park, sipping on wine and watching as a theatre troupe puts on Shakespeare’s The Taming of The Shrew - it can’t get more English than that!

Recently, we had the chance to talk with Clive Rowe, who will be playing Uncle Fester in the touring production of The Addams Family. We discussed what it is like to be taking the show on tour, why he’s not going to listen to the original cast album and even how acting as a career is a bit like eating chocolate for a living!

John Cameron Mitchell, known as the writer, director and star of Hedwig and the Angry Inch, will be making his West End debut at the Adelphi Theatre in his own concert, John Cameron Mitchell: Live in London. Recently, we had the chance to talk with John Cameron Mitchell about his upcoming London concert. We discussed what it’s like to put on concerts around the world, a bit of his creative process and even some of the guests who will be taking part in the show!

Recently, we had the chance to talk with Cameron Johnson, who plays Colonel Martin in Here We Are. We discussed how he first got started in the world of theatre in Peterborough, what it has been like to take on such an absurd piece and even how he almost pulled a sick day to see a show he was in since the beginning!

Walking down into The Crown for Oscar at The Crown makes one feel as though they are entering the bunker of a conspiracy theorist, with photos connected with thread and quotes written on the walls. Turning the corner, audience members are greeted by a quote in glowing yellow - “What a beginning. What a wonderful beginning.”

Giffords Circus: Laguna Bay takes audiences and transports them from a 600-seat tent in Chiswick House and Gardens to a beach resort in 1950s America, with sunglasses and leather jackets aplenty.

A medieval mystic and a scribe walk into a 21st-century dorm room . . . No, that’s not the start of a joke. It’s the beginning of Talking to Margery, a play written and directed by Zoë Alexander in which famed mystic Margery Kempe (Denise Evans) and her devoted scribe (Jamie Izzet) somehow end up in the room of university student Grace Thomas (Billie Early) in Leicester. All of this is set to musical accompaniment by harpist Alice Brightman, who composed the music for the show.

As someone who used to be obsessed with yoga, I knew that I wanted to see Namaste Blisters, a comedy show written and performed by Kym Nelson, a former yoga teacher, that promises to reveal the “stereotypes, secrets and absurdity of the yoga industry.”

Space Planet Mission: The Improvised Sci-Fi Epic’s title is pretty self-explanatory - the cast of the show will be putting on a sci-fi-themed improvisational show, coming up with an entirely new story before the audience’s eyes. An added bonus? There is a live musician accompanying the improvisational journey, making for just a bit more of immersion into the sci-fi world.

When a show begins with a content warning about balloons, '80s music and danger, you know you’re in for an interesting one. The Giant Balloon Show, performed by Dizzy O’Dare, mixes balloon tricks with a playlist from the 1980s to make a show for all ages, but there’s one catch - the actual giant balloon doesn’t appear until the end of the performance. A bit misleading, but what can one do?

PEAR: Phobia makes quite the interesting promise to its audience. Patrick and Hugo McPherson, 6’7” identical twins, proclaim that, by the end of the show, there will be no more fear in the world. Take that, Fleabag.

Glenda & Rita: Live has a simple concept - Glenda Swing and Rita Herringbone, two former movie stars, are moving from the screen to the stage in an attempt to win back the fame that has faded for them. The catch? They’re still stuck in the world of black-and-white. Literally.

The City of Ladies, described as an “offbeat comedy exploring the radical ladies of the past through puppetry, drag, and special hats,” has quite the unique premise. Two muses, Ladies Rectitude and Reason, visit a medieval woman named Christine de Pizan, who is struggling with what it means to be a woman in the 15th century.

Written and performed by Fay Downie, Puck: A Fairy’s Tale gives a backstory to the sprite from Shakespeare’s A Midsummer Night’s Dream, the servant of Oberon who loves to pull pranks and cause chaos. Downie is joined creatively by Olivia Mace, who takes on both the role of director and dramaturg, pulling inspiration from not just Shakespeare’s work but also The Mad Pranks and Merry Jests of Robin Goodfellow.

The Big Bite-Size Breakfast Show has quite a fun concept for a Fringe show - audience members are greeted with a croissant, a strawberry and a choice of a hot drink before taking their seats for the performance. Instead of just being one play in an hour, audiences see multiple “bite-size” ten-minute plays, getting the chance to see four or five works in one sitting.

It’s common to hear about people moving to New York City in order to find themselves and start their path. Something not as common? Moving from New York City to a small village in rural Germany. But that’s exactly what the family of Alexis Sakellaris does when he’s only eight years old, and it’s where our story begins.