It’s a very strange feeling when you come across two new plays with almost identical themes – a zeitgeist moment where an idea floating in the ether gets picked up by two playwrights in close time proximity. Continue reading →
If there was such a thing as `chick-lit’ in theatre, this would be the nearest thing to it.
But that would neither be respectful nor entirely accurate. The phenomenon that has become Vicky Jones, Phoebe Waller-Bridge and the company they formed, DryWrite, carries far greater weight than that slightly disreputable moniker would suggest. Continue reading →
He likes his politics and history does James Graham who has given us some cracking examples of the unholy alliances that pass for politics in this and probably every country, starting with Eden’s Empire a decade ago and leading up to the blissfully funny The Vote (Donmar) on Election Night 2015 and This House, now setting off on a national tour. Continue reading →
Juan Radrigán was to Chilean literature and theatre as Maxim Gorki was to Russia under the Tsars. Writing during the Pinochet era, Radrigán’s subjects were exclusively those on the margins of society, the dispossessed and the unheard. Continue reading →
A `Sacrament of Listening’ could be the subtitle for Carol Ann Duffy and Rufus Norris’s post-Brexit project that opened three months ago at the National and which, caught now at the end of its UK tour with it’s almost white cast and similar audience, sits so oddly in a theatre normally packed with multi races and ownership. Continue reading →