Phoenix Dance sores into action with a new high flying repertoire, combining classic contemporary dance with styles such as hip hop and jazz, to create something truly original and intriguing.
Phoenix Dance sores into action with a new high flying repertoire, combining classic contemporary dance with styles such as hip hop and jazz, to create something truly original and intriguing.
Burying the dead is a much easier task than burying repressed feelings in Iman Quereshi’s four hander that bites at the complications of religion, culture and sexuality. Winner of the 2018 Papatango New Writing Prize, The Funeral Director is an imagining of how a young couple’s relationship and moral values are tested by the confines of their religion.
Project Manager Alex Turner has overseen the preparations for this year’s TheatreCraft. An event aimed at those aged 16 to 30 looking to learn more about theatre disciplines off stage, the initiative will see industry professionals give talks and workshops, as well as a careers fair at the Waldorf Hilton Hotel offering attendees the chance to meet some of the UK’s leading theatres, companies and education providers. Read on to find out more about this year’s event.
Having trained on the BA (Hons) Design for Stage course at the Royal Central School of Speech and Drama, Khadija Raza’s star has risen within the industry, having gone on to work on set and design projects from the Arcola to the Bush Theatre. Her work has seen her win the prestigious Linbury Prize for stage design as well as a Stage Debut Award for her costume design work featured in the Bush Theatre production of Hijabi Monologues. Khadija will lead a workshop at this year’s TheatreCraft on Set and Costume Design for the Stage. TheatreCraft, aimed at theatre enthusiasts aged between 16 to 30 looks to encourage those looking to pursue a career behind the scenes. Read on to find out more about Khadija’s workshop!
On Rememberance Sunday, various events and services will take place to commemorate the lives lost in both WWI and WWII. The day is crucial in taking a step back, and taking in the gravitas of those who have sacrificed their lives for the rights of future generations. We’re taught about key events that led up to both conflicts and we also hear of the victorious. What we often don’t hear about are the various soldiers and labour workers who aided in the conflict from a multitude of backgrounds. Daniel York’s Forgotten tackles this, a narrative solely focussed on the 140,000 Chinese Labour Corp who contributed in Great Britain and the Allies’ victory a century ago.
Theatre Tokens is the biggest national theatre voucher scheme and can be used at over 240 venues across the UK including London’s West End. Theatre Tokens also have no expiry date so you can easily pick when you use them with no pressure.
Bloomsbury Festival returned in October with a series of events celebrating the theme of activism and the architects of change, and featuring an array of performances showcasing talent associated with the area. I saw five shows in the NEW WAVE line up, each in the Bloomsbury Theatre’s studio space and all the first time they have been shared publicly.
For a decade, the Papatango New Writing Prize has awarded promising playwrights that have gone on to pursue successful careers within the industry. Iman Qureshi is the initiative’s 10th winner, and there’s no doubt that she’ll enjoy a future of success too. Iman’s ‘The Funeral Director’ witnesses Ayesha, the director of a Muslim funeral parlour confront her sexuality and challenge her faith when Tom visits to organise his boyfriend’s funeral. A timely piece of writing tackling hot points within current conversations, Iman talks about the show’s debut at the Southwark Playhouse!
Morning in Byzantium is the second Kammerspiele Production by New York director and choreographer Trajal Harrell. Whereas Juliet & Romeo focused on youthful death, Morning in Byzantium sees the end of life as only one of various possibilities, and the director chooses life.
Currently showing at The New Diorama after a well-received Edinburgh run in August, Breach Theatre’s It’s True, It’s True, It’s True is based on the translated transcripts of the 1612 trial of Italian painter Agostino Tassi, in a case brought against him by Artemisia Gentileschi, a female painter who he had raped whilst serving as her tutor.