How lost can you feel in the countryside? According to Simon Longman’s new play, Gundog, a good deal. Longman’s rural family of shepherds are a sad lot. There’s Becky – school drop-out, couldn’t see the point of learning anything, `they don’t do lessons in shepherding’ – Anna, her older sister, quiet, monosyllabic, dependable. And Ben, their angry, troubled brother, who turns up from time to time having been away but forced to return. He has no skills, other than being on the land. Continue reading →
Sometimes a production just knocks you for six. This must have happened for many people when The Fall first appeared in the UK at this year’s Edinburgh Fringe festival. The story of the South African student movement for decolonisation, the #RhodesMustFall Movement, written and devised by those involved is a lesson to us all, in politicisation, finding one’s voice, discrimination and much more besides. Continue reading →
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 →
There’s something refreshingly anarchic about Simon Stephens. In his very long preface to the printed text of Nuclear War, Stephens talks at length about the process of writing this play and how the origination of it came from his interest in writing a piece of text for movement/dance after director Ramin Gray brought in choreographer Hofesh Schechter to work on his 2006 play, Motortown.Continue reading →
Seeing Caryl Churchill in the audience this week for debbie tucker green’s latest is to be reminded of the enormous influence and legacy Churchill has bequeathed, is bequeathing to British theatre. Continue reading →
Maybe one should always beware plays with letters as cast members. It never bodes well. E V Crowe has been steadily building a reputation as a writer of taut, stringent control since her debut, Kin (2010) followed by the positively garrulous (by her standards) but impressive Hero (2012) with Daniel Mays. Last year, Brenda, a study in mystery and abuse, premiered at the High Tide festival and certainly took no prisoners. Nor does her latest, The Sewing Group.