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THE BALLAD OF A VIRGIN WHO CAN'T DRIVE Wins Soho Theatre's Overheard Podcast Competition With NBCUniversal International Studios and StoryHunter

Leveraging its existing partnership with short form video and audio content company, StoryHunter, the studio developed a new initiative with Soho Theatre entitled OVERHEARD.  Open exclusively to the theatre's Writers' Lab Alumni 2019/20 only, the podcast competition saw entrants tasked with developing an idea for a fictional podcast, with a view to produce and release a pilot this autumn.

Squint Announce Online Writing And Devising Workshops

Following the success of their online workshop programme launched during the first lockdown, theatre company, Squint, led by Andrew Whyment, today announce a further series of writing and devising workshops to equip and empower participants with tools and practice that can be applied to their own projects.

MUM Comes to the Playground Theatre

Amanda Boxer will star in the world premiere of MUM, a new play about love, loss and dementia by actress and comedian Juliet Cowan, directed by Yasmeen Arden, opening at the Playground Theatre on 18 April and playing until 4 April, with a press night on Friday 20 March. Sian Ejiwunmi-Le Berre will star as 'Roz', Lucille Findlay as 'Laurel' and completing the cast are Lilly Driscoll and Martin Edwards.

Rose Theatre Kingston Announces Eoin McAndrew, Eilidh Nurse And Sid Sagar As The Selected Playwrights For The Inaugural New Writing Festival

Rose Theatre Kingston today announces Eoin McAndrew, Eilidh Nurse and Sid Sagar have been chosen to have their new plays The Devil's In The Chair, Miles and Dark Faces in the Night worked on and performed as part of its inaugural New Writing Festival, a week-long event running from 9 a?" 13 September. The festival will feature rehearsed readings of the three new plays as well as arts engagement workshops for young people focused on new writing.

BWW Review: THE STARRY MESSENGER, Wyndham's Theatre

A decade after originating the lead role Off Broadway, Matthew Broderick returns to Kenneth Lonergan's play to make his West End debut. His devotion to the material is certainly understandable, as the part is tailor-made for his signature brand of self-effacing deadpan - a placid mask covering existential angst.

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