Independent theatre criticism and journalism is on the rise, and with it, is highlighting a range of fresh voices from both a critical and dramaturgical point of view. Last year, founders Laura Kressly (The Play’s The Thing UK blog) and Katharine Kavanagh (The Circus Diaries Blog) founded the Network of Independent Critics, offering the opportunity for bloggers/vloggers and website owners to visit the world renowned Edinburgh Fringe Festival. Travel costs and accommodation attribute to the majority of costs whilst there, and this therefore makes it quite difficult for independent reviewers to visit, therefore potentially missing out on a wealth of cultural content for their sites.

Courtesy of Network of Independent Critics

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Yellow Earth Theatre was formed in 1995 by five British East Asian* (BEA) actors; Kwong Loke, Kumiko Mendl, Veronica Needa, David KS Tse and Tom Wu.The company sought to develop work that would widen the choice and type of roles being offered to BEA actors at that time and to create work that brought together our physical skills and western drama school training that explored our own cultural heritage.

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It’s official, this era can now be defined as the self promoting, self made era. No longer are we to wait for the latest news bulletins on the 6’oclock news, no longer are we to wait for the latest goings on in the broadsheets; instead- we can click a button at our convenience and are presented with a plethora of videos, memes, articles, opinion pieces, opinion pieces on opinion pieces in a matter of minutes. This has now become our reality, and this is a topic that will no doubt continue making a regular occurrence within theatre, with elements of this phenomenon being picked to pieces and examined closely.

Courtesy of Mark Douet

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Lauded for his visually stunning features, Tarsem Singh has pushed the boundaries in regards to how audiences are challenged on a creative level. The Fall (2006) marks the director’s second feature film, after the much talked about ‘The Cell’ (2002); seeking inspiration from celebrated Bulgarian writer, Valeri Petrov‘s film Yo Ho Ho. Intertwining spectacle with dark themes, EmpathEyes present a theatrical telling of the cult classic.

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Letters to Windsor House is the latest production from the delightfully named Sh!t Theatre Company, the comedic combination of Louise Mothersole and Rebecca Biscuit. Both experienced performers, this particular concoction tells of their experiences in the notorious London housing market, largely through an investigation of previous tenants’ post, delivered to them with no forwarding address, and the attempts they make to connect with the stories of these enigmatic predecessors. In doing so, they employ their exceptional musical and physical devising skills to explore themes of friendship, community, and the problem of human connection in a fast paced London suburb, interspersed with tongue in cheek political satire that feels both relevant and heartfelt.

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‘Run. I fall. And run. I fall. With sheer force that I hurtle through space.’ The expanse of human memories in space and time is what Stephen Laughton plays with in his latest one-hander Run, at newly established off-West End venue The Bunker.

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Camille’s return to Brighton is met with some real excitement. She’s performed here many times to rapturous reception, and nothing less would suffice for the ‘Queen’ of Edinburgh Fringe and someone of such serious talent. She’s often described as a cabaret performer, but her shows are more than cabaret, taking songs by artists such Nick Cave, Brel, Bowie, Tom Waites and transforming them, telling those stories in her own unique way.

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I My Country; A Work In Progress is a collaborative piece between the current Artistic Director of the National Theatre, Rufus Norris and Poet Laureate, Carol Ann Duffy. During 80 minutes or so, real testimonials from residents across Great Britain are interwoven with speeches from party leaders prior to the referendum on the UK on leaving the European Union.

Photo courtesy of the National Theatre.

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Although Taiko drumming is synonymous with Japanese culture, the musical legacy is believed to have derived from both Korean and Chinese culture. Introduced to Japan in the 6th Century, Taiko drums have taken on various roles; whether it be for communicative, theatrical, religious and military. The drum’s sound is unrivalled; a visceral, earthy instrument that is powerful and engaging enough to take centre stage. The Yamato Drummers celebrate the instrument’s earthiness in their eponymous hit show.

Courtesy of Sadler’s Wells.

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David Henry Hwang’s latest drama Chinglish witnesses an American protagonist attempting to establish a business in China; however what stands in the way is a lack of knowledge of culture and the language. Lobo Chan prepares for his role as Cai Guoliang- Culture Minister of Gue Yang; responsible for granting the American protagonist the permission. A trained opera singer and actor, Chan has starred on both stage and screen-most notably starring in Peter Jackson’s epic King Kong in 2005. Chan speaks to us about his latest stage role.

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