This morning the Edinburgh Festival Fringe Society launches its review of the year: an in-depth look at the work it has accomplished over the past 12 months. With unease caused by a new wave of COVID in early 2022, there was still uncertainty that a fully formed Fringe could take place this August. However, against what felt like impossible odds at times, the Fringe re-emerged in glorious technicolour, with local performers joined by artists from across the UK and 63 nations.
Jerwood Arts has today announced £1million of funding for leading arts organisations to deliver transformative programmes tailored to what early-career artists, curators and producers need now. Against the backdrop of unprecedented challenges for the arts sector posed by the cost of living crisis, the aftermath of the pandemic, and Brexit, Jerwood Arts affirms its commitment to early-career artists through supporting over 100 outstanding opportunities across the UK over the next two years.
Milli Bhatia directs yet another outstanding play at the Royal Court by Jasmine Naziha Jones, a playwright that stared shame back in the face with smoke, cheap thrills, bells and whistles and ran with it. What we all really want to see is someone else face what we couldn’t, a storyteller that spits her truth out and an added bonus is doing it with style. A stunning production with pace and gut-wrenching symbolism that has made its mark on contemporary theatre. Extraordinary acting too from our playwright turned lead actor who amazingly plays a child better than she plays an adult. It’s the best exploration of intergenerational trauma I’ve seen on stage and to think this is only the start. We love to see it.
The concept of freedom is a deep one, one that immediately evokes an emotional response no matter who you talk to. The tale of the ‘escape story’ one that throughout the generations has disclosed the soul destroying impacts of imprisonment against one’s own will, placing personal freedom at the fore. An exploration of the threat of personal freedom, Oliver Yellop’s production Tunnels ties the world of post WWII Germany to our present.
Courtesy of Mark Douet.
Kakilang(formerly Chinese Arts Now CAN) has announced the full programme and dates for its unique multi-art form festival which celebrates the work of artists from across the wide spectrum of East and Southeast Asian heritages. Eight extraordinary events platforming theatre, dance, visual arts, live music, cabaret and puppetry will be staged from the 21 February – 23 April 2023 in a selection of London’s leading arts venues including the Barbican, Omnibus Theatre, Rich Mix, Shoreditch Town Hall, Two Temple Place and The Yard.
The Society of Authors, in conjunction with the Great Britain Sasakawa Foundation, is delighted to announce the launch of the Great Britain Sasakawa Foundation Translation Prize, celebrating translations into English from Japanese.
Courtesy of Society of Authors.
In an era where our steps can be counted, water consumption measured, our dating lives determined by a series of algorithms, possibilities made endless thanks to the vast number of apps made accessible at the click of a button, we’ve started to settle into our digitised revolution that is the early part of the 21st century. Our smartphones our very own personal assistants that we can sometimes feel at a loss if we don’t have them with us. Tapping into this reality, Discoland present timely production Lowkey Dying, a piece drawing on our current cost of living crisis and what this looks like through the lens of Millenials and Gen Z.
It’s back and better than ever: VAULT Festival, the UK’s leading independent festival of live performance, makes its joyful return in 2023. Running from 24th January – 19th March 2023 in venues across Waterloo, the programme features over 500 of the best theatre, comedy, cabaret and late-night shows from some of the brightest talents across the live performance industry.
Whether you’re familiar with Studio Ghibli’s My Neighbour Totoro or not, the eponymous anime aesthetic is something I’m sure many of us are familiar with – a mercurial, comforting , friendly, creature who happens to appear at just the right moments. Originally an animation released in April 1988, the Japanese cultural phenomenon has enjoyed success internationally having also received various accolades along the way. 34 years on, and the cult classic has been reimagined for the stage, receiving its premiere at the Barbican and realised by Tom Morton-Smith and director Phelim McDermott.
Courtesy of Manuel Harlan.
Today, The Old Vic is delighted to announce the launch of The Hub – a brand new, free, online platform that will enable anyone, from anywhere, to delve behind the scenes of the cultural industries. The platform will provide global audiences the opportunity to develop their careers, recognise pathways into the industry, and benefit from content championing positive mental health.
