A courtroom is a place of tradition, of cold reason rather than emotional responses. This is a fact which is highlighted in The Trials and Passions of Unfamous Women, a new play produced by LIFT, Brixton House and Clean Break, a company which works to bring the stories of women who are criminalised to a wider audience. The play takes us on an exploration of the court system through the eyes of women, fluctuating between classical stories of female trials and modern testimonies.
When her husband returns victorious from the battlefield with a prophecy that he is to become King of Scotland, Lady Macbeth will stop at nothing to make their darkest ambition a reality.
Recently we had the chance to chat with Bronté Barbé and Rebekah Hinds, who play Kathy and Stella, respectively. We discussed what it’s been like to have been a part of the show since the beginning, bringing the production to the West End and how the fans have played an important role in the show.
What is theatre fundamentally about? Why do we create any form of literature or performance? Why do we tell stories? Stories are such a formative part of life, forging our knowledge of the world and helping to bring communities together.
Laura Lomas’s The House Party spins Strindberg’s Miss Julie into intense, fizzing life for today’s generation. Directed by Holly Race Roughan, in a co-production with Headlong in association with Frantic Assembly, it runs at Chichester’s Minerva Theatre from 3 May – 1 June, with a press night on Friday 10 May. See photos from inside the rehearsal room below!
A production that promises to be a 'fresh take' on one of Shakepeare's most famous plays is apt to produce a weary sigh or two. After previously playing at Edinburgh's Royal Lyceum last February, Zinnie Harris now brings her promising yet unfocused version of the Scottish play to the Rose Theatre.
Written by Mark Ravenhill and directed by Erica Whyman, Ben & Imo tells the story of the composition of Benjamin Britten’s (Samuel Barnett) Gloriana with musical assistant Imogen Holst (Victoria Yeates) over a period of nine months in the coast town of Aldeburgh. The play is based on Ravenhill’s BBC Radio 3 presentation, Imo and Ben.
Nachtland is a nervous, difficult play whose purpose is decisively blurry. It doesn’t revel as much as it should in the unknotting of its cerebral conundrum and doesn’t bask in the incredible satire it holds. The ideas it presents are topical, yet the piece is distracted. It tries to be quirky and different, but the result is tired and unfocused. It will make audiences think and talk about what they just saw, but not necessarily in a good way.
Actors bare it all in Simon Beaufoy's award-winning adaptation of The Full Monty in Glasgow this week. A hilarious, delightful and phenomenally-acted story with an important social critique - what's not to love?
The local NHS Child and Adolescent Mental Health Service facility has a new temp, but Jay’s bright eyes and hopeful attitude grate against Angela’s 30 years’ worth of experience. This Might Not Be It confronts the issues that plague our national health services with an excavation of their human fallout.
See the new production shots from the musical adaptation of Julia Donaldson and Axel Scheffler's beloved children's book Charlie Cook’s Favourite Book, which is currently on at Little Angel Studios until 4 February 2024 (then touring to over 50 venues across the UK)!
All aboard for a new rendering of The Girl on the Train at Salisbury Playhouse, with clever background projection to lift a journey that doesn’t quite make its connection.
All new production photos have been released for The Girl On The Train, based on the Dreamworks film and bestselling novel by Paula Hawkins, adapted by Rachel Wagstaff and Duncan Abel currently on at Salisbury Playhouse until 11 November. Check out the photos here!
There are meaty themes, moments of humour and insight, and the standard of professionalism you’d expect from a Royal Shakespeare Company production first staged in Stratford in 2013 and now playing at the Lyric Hammersmith. But somehow Tanika Gupta’s script doesn’t quite take off.
