A new edition of ‘Plays that Made Me’, this time charting the start of a life loving musical theatre after watching Les Mis.
Oxford’s theatre community proves perpetually innovative in the face of current restrictions. 00 Productions are back with another virtual show, “Songs of the old world: shows we wish we’d done”, a cabaret comprised of songs from shows which have been affected by COVID-19 in some way. The event is in aid of three charities: Artists Read More…
In the second Plays That Made Me instalment, Mimi Pattinson remembers Connor McPherson’s Girl from the North Country and its exploration of life, loss and love through Bob Dylan’s music and poetry.
Perhaps you were lucky enough to catch RENT! in Hilary 2019, the very first musical by the St Catz theatre society. Well, the cast is back, this time through the new endeavour Raise Your Voice Theater Collective, a virtual musical theater fundraiser in support of Color of Change and UK Black Pride. I talk to Read More…
Jaya Rana and Mitch Marshall reminisce about Edinburgh Fringe Festivals of the past as this year’s celebrations are put on hold.
Not only are the plays set in an entirely different society with its own distinct and complex culture, but we are separated from these events by thousands of years. It is easier to address our own flaws, both personal and societal, when they wear the mask of someone else’s.
Translating theatre from the physical to the online world means that every stage of development has had to mutate, including auditions. I sat down over Zoom to catch up with actors and directors who have delved into this new world and discovered the comfort and confinement of virtual auditions. Dorothy McDowell and Maggie Moriarty both Read More…
We look back at the plays that left a profound impact upon us when performance was live and the atmosphere electric. Pauline Gümpel relives Ivo Van Hove’s Électre / Oreste and the confounding combination of nature and artificiality.
Leona Crawford reflects on the brittle brilliance of Carrie Cracknell’s production of The Deep Blue Sea. From the performances, to the costumes, to Tom Scutt’s haunting set design, she explores the lingering images of this bold National Theatre revival.
The Globe’s Tempest achieves a faithful performance, drawing out both elements of the tragi-comedy genre.