Theatrefullstop - A world of Theatre at the click of a button
  • Home
  • About
    • The Team
    • Contact
  • Reviews
  • Interviews
  • Articles
  • Videos + Podcasts
  • Competitions
  • Events
  • Wellness
  • Technology/Digital
  • Freelancers
Home
About
    The Team
    Contact
Reviews
Interviews
Articles
Videos + Podcasts
Competitions
Events
Wellness
Technology/Digital
Freelancers
  • Home
  • About
    • The Team
    • Contact
  • Reviews
  • Interviews
  • Articles
  • Videos + Podcasts
  • Competitions
  • Events
  • Wellness
  • Technology/Digital
  • Freelancers
Theatrefullstop - A world of Theatre at the click of a button
Home, Interviews

Theatre Maker Victor Esses talks about his autobiographical show ‘Where to Belong’ due to tour the UK


Sound has the power to shift mood, heal and evoke memory, soundtracks shaping many of our lives. Presenting an autobiographical one man show incorporating this element, as well as fusing projection and photography, theatre maker Victor Esses presents Where to Belong, an exploration of how to find your place within a rich and complex world of identity – as a Jewish-Lebanese Brazilian gay man, Where to Belong marks the journey to find home. Ahead of the show’s tour, starting at the Oxford Playhouse from the 7th September, Victor tells us more about how he’s found the process of creating this autobiographical work, what it means to him to be able to stage the piece and what audiences can expect.

Hi Victor, you’ll be touring Where to Belong from September. How are you feeling ahead of the tour?

Continue reading

29th July 2021by Theatrefullstop

Theatrefullstop Newsletter

> Click here to subscribe

Recent Posts

  • Raging Mother @ Zoo Southside – Studio (Edinburgh Festival Fringe 2022) Review
  • Bogeyman @ Pleasance Dome, Queen Dome (Edinburgh Festival Fringe 2022) Review
  • Shame on You @ Summerhall – Demonstration Room (Edinburgh Festival Fringe 2022) Review
  • Seen 00:25 @ C Venues – C Aquila Studio (Edinburgh Festival Fringe 2022) Review
  • Made in I̶n̶d̶i̶a̶ Britain @ Pleasance Two, Pleasance Courtyard (Edinburgh Festival Fringe 2022) Review

Archives

  • August 2022
  • July 2022
  • June 2022
  • May 2022
  • April 2022
  • March 2022
  • February 2022
  • January 2022
  • December 2021
  • November 2021
  • October 2021
  • September 2021
  • August 2021
  • July 2021
  • June 2021
  • May 2021
  • April 2021
  • March 2021
  • February 2021
  • January 2021
  • December 2020
  • November 2020
  • October 2020
  • September 2020
  • August 2020
  • July 2020
  • June 2020
  • May 2020
  • April 2020
  • March 2020
  • February 2020
  • January 2020
  • December 2019
  • November 2019
  • October 2019
  • September 2019
  • August 2019
  • July 2019
  • June 2019
  • May 2019
  • April 2019
  • March 2019
  • February 2019
  • January 2019
  • December 2018
  • November 2018
  • October 2018
  • September 2018
  • August 2018
  • July 2018
  • June 2018
  • May 2018
  • April 2018
  • March 2018
  • February 2018
  • January 2018
  • December 2017
  • November 2017
  • October 2017
  • September 2017
  • August 2017
  • July 2017
  • June 2017
  • May 2017
  • April 2017
  • March 2017
  • February 2017
  • January 2017
  • December 2016
  • November 2016
  • October 2016
  • September 2016
  • August 2016
  • July 2016
  • June 2016
  • May 2016
  • April 2016
  • March 2016
  • February 2016
  • January 2016
  • December 2015
  • November 2015
  • October 2015
  • September 2015
  • August 2015
  • July 2015
  • June 2015
  • May 2015
  • April 2015
  • March 2015
  • February 2015
  • January 2015
  • December 2014
  • November 2014
  • October 2014
  • September 2014
  • August 2014
  • July 2014
  • June 2014
  • May 2014
  • April 2014
  • March 2014
  • February 2014
  • January 2014
  • December 2013
  • November 2013
  • October 2013
  • September 2013
  • August 2013
  • July 2013

Instagram Feed

 

Theatrefullstop Newsletter

> Click here to subscribe

 Theatrefullstop © 2016