As we continue to adapt post pandemic to our new normal, the past two years have caused us to look back at early 20th century history, in doing so, we’re able to draw many parallels current circumstances. Nearly a century on from The Great Depression (1929-1030), a century on from the prohibition era (1920 – 1933) and WWI (1914-1918 what would would have been known as ‘The Great War’ at the time) F. Scott Fitzgerald’s The Great Gatsby encapsulates the unpredictability of world events taking shape. Drawing on Fitzgerald’s iconic novel Ruby in the Dust Theatre turn the work into a musical, Gatsby: The Musical – tying our 21st century experience of the 20s and transporting us back to the opulent, roaring 20s of the last century!

Courtesy Lidia Crisafulli.

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Inspired by Gaston Leroux’s 1910 novel The Phantom of the Opera, Andrew Lloyd Webber, alongside lyricists Richard Stilgoe and Charles Hart would go on to create the iconic multi-award winning musical (1986) of the same name. Four decades on and the musical has enjoyed global success and continues to be enjoyed by many musical fans. Taking on the iconic musical and presenting it within a visual art format, Titan Comics have created a graphic novel version currently available to purchase online. A team effort, having been written by Cavan Scott, with visuals created by José Maria Beroy – theatre fans are now able to enjoy the musical in an alternate manner as well as own this unique collector’s item. We’ve teamed up with Titan Comics to giveaway a copy of the graphic novel, to have a chance of winning, answer the following question…

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With the festive season in full swing, the days leading up to Christmas offer us a chance to reflect on the year just passed, and celebrate accomplishments. Closing the 2021 theatrical calendar at Upstairs at the Gatehouse, Clarke Peters’ Olivier Award Winning Five Guys Named Moe is a fitting conclusion, a man’s potential journey into oblivion stopped by the wise words of his alter egos.

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Born out of unpredictably of the pandemic last year, the #WeShallNotBeRemoved campaign, co-founded by former government disability champion Andrew Miller MBE and celebrated Artistic Director of Graeae Theatre Company Jenny Sealey MBE have tirelessly campaigned for a more inclusive arts sector moving forward. Their efforts so far having witnessed them secure over £150,000 in additional funding for disabled artist, ensuring that inclusivity was included in public statements around the reopening of theatres and serving as a support system for the deaf, disabled, learning disabled and neurodiverse community. The initiative has been recognised for the inspirational work achieved so far, having made the shortlist for ‘Community Project of the Year’ at the prestigious 2022 The Stage Awards. Andrew tells us more about the initiative’s aims and hopes!

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Peggy For You is a familiar quintessentially English play that is comfortably entertaining but, on this occasion, falls short due to inconsistent acting standards from the company and the times we live in. First performed at the Hamstead Theatre in 1999 it makes me wonder who thought it needed a revival two decades later.

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Courtesy of Sarah Hickson.

As we continue to build up a wealth of theatrical stories from the Black British perspective, we help to form a nuanced view of both recent and old British history, something incredibly important for society moving forward. Adding to the wealth of stories now gracing our stages, Crying in the Wilderness’ Artistic Director Paul Anthony Morris presents Conundrum, a show exploring the displacement and various experiences of a first generation Black Briton. Due to show early next year at the Young Vic, Paul tells us more about staging the piece nearly 2 years after its postponement due to the pandemic, the importance of placing a greater focus on well-being for both artists and audiences and what to expect from the show!

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The trials and tribulations of teenagehood can be tough, a time where you’re trying to figure out who you are and where you stand with others and in the world. Whether you have fond memories of your teenage years, or not, this formative period in time has helped to shape who we are. Exploring teenagehood within her screenplay debut Americanized, Erica Eng delivers a short film delving into the life of Eng – a 16 year old teen of Asian descent based in Oakland and a member of her school’s basketball team. Tackling themes of cultural heritage, girlhood and sport – Erica tells us more about the film’s creative process and qualifying to be considered for an Academy Award®.

Hi Erica, your short film Americanized has qualified to be considered for a 2022 Academy Award®, how are you feeling?

Hearing it from you now kind of hit me, because today is when they’re opening up the voting (Friday 10^thDecember). It’s such a surreal position to be in because I remember feeling discouraged after initially getting so many rejection letters from film festivals and being worried that no one would like the film. But being here today – Oscar Qualified after winning “Best Dramatic Short” at Cinequest –  it’s just an amazing feeling. And it’s also great hearing from Catherine Lyn Scott (London Flair PR), on all the great feedback we’ve been receiving from people who have watched and enjoyed the film.

Politically relevant new play by James Graham at the Young Vic delivers in all departments with high production values. Set in the volatile year of 1968 America, the play tells the story of broadcast network ABC’s televised debates between William F.Buckley and Gore Vidal. The two rivals were invited on to save ABC’s dwindling ratings and in doing so ushered in a new age of American politics which moved away from well-informed journalists and political experts and towards celebrity punditry.

Courtesy of Wasi Daniju.

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Marking nearly 60 years since the Civil Rights movement in the US, a movement campaigning for the ending of racial discrimination, the campaigning continues on. Pre-dating the influential movement, and an important facet of it, Alice Childress‘ lesser known satirical play Trouble in Mind instils the hostility and divisive nature of the 1950s societal and political climate, and how this presents itself within the theatrical world.

Courtesy of Johan Persson.

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