Most recognisable from season two of RuPaul’s Drag Race UK, Drag queen Tayce has proven week on week with her sharp wit, effortless confidence and determination that she’s a rising star in the making, paving her way through the iconic competition’s various challenges and catwalks. Following the reveal of the nation’s roadmap to recovery, theatre will gradually begin to resume within the next few months, bringing with it an array of events – reminding us as to why the arts are crucial. Taking part in The Parking Lot Social’s DriveTime Drag Tour this Easter, Drag stars from both seasons one and two will entertain with a programme of live comedy, lip synching and more. Ahead of the UK tour, Tayce tells us more about what to expect from the performances, what inspired her to pursue a career in Drag and her time on RuPaul’s Drag Race UK.

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Creating a space and opportunities for writers who identify as women to showcase new work, Burn Bright, co-founded by Tori Allen-Martin and Sarah Henley offers mentorship and feedback sessions from industry professionals with their Time Bank initiative, insight into the industry with their newly launched podcast featuring a range of creatives, the opportunity to network with their Connect Series as well as hosting digital showcases. Their next event, Hear Me Roar will showcase new work from writers Chantelle Dusette, Gail Egbeson, Soph Galustian, Tiwa Lade, Lauren Nicole Mayes, Anna Morris and Pegeen Murphy. Ahead of the event, Tori tells us more about the importance of creating these spaces, a featured interview with playwright Morgan Lloyd Malcolm – writer of award winning play Emilia and what to expect from the event.

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Awarding 33 creatives with a £20,000 grant and career support, the Live Work Fund – made possible by Jerwood Arts, Wolfson Foundation, Esmée Fairbairn Foundation and The Linbury Trust, demonstrates the significance of collaboration, from the consortium of funders bringing with them their own valuable expertise to Jerwood Arts’ Artist Advisers offering their insight which in turn supports the decision making process. After the recent announcement of the Live Work Fund recipients, Jerwood Arts tell us more about the crucial fund, how they’ve found responding to growing need and what they’ve learned from their survey of 1200 applicants.

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A distinctive part of early 21st century dating, dating apps have shaped how we interact, connect and meet up with prospective partners in the digital era. Tapping into this phenomenon in her debut show Manimals, game producer Michelle Hudson explores dating, loneliness and the struggle to connect within our digital age. Due to embark on a Canadian digital tour following the show’s UK showing, Manimals‘ app developer Sonya Suraci of Stitch Media tells us more about the creation of the Manimals dating app!

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A distinctive part of early 21st century dating, dating apps have shaped how we interact, connect and meet up with prospective partners in the digital era. Tapping into this phenomenon in her debut show Manimals, game producer Michelle Hudson explores dating, loneliness and the struggle to connect within our digital age. Due to embark on a Canadian digital tour following the show’s UK showing, Manimals‘ game dramaturg Amy Strike tells us more about what drew her to take part in the show, key questions that were asked during the show’s development and what she’s taken away from the process.

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Within the past two decades, reality TV gameshows have formed a significant part of popular culture, the concept of relatable characters becoming household names a fascinating premise. Inspired by the genre, immersive theatre company Objective Entertainment have crafted their very own interactive experience THIS IS REALITY 2000, a Zoom based event, curated for a group of up to 12 participants who partake in a series of social games. Currently available to organise and book now, game operator Oscar Hewitt tell us more about how he’s found the experience so far, what he’s learned operating work for a digital stage and what to expect. 

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Within the past two decades, reality TV gameshows have formed a significant part of popular culture, the concept of relatable characters becoming household names a fascinating premise. Inspired by the genre, immersive theatre company Objective Entertainment have crafted their very own interactive experience THIS IS REALITY 2000, a Zoom based event, curated for a group of up to 12 participants who partake in a series of social games. Currently available to organise and book now, co-founders Christopher Adams and Dean Elliott tell us more about exploring the reality TV genre further, creating the show for Zoom and why they’re determined to perfect the immersive show format.

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Marking a year since Tangle Theatre’s opening of Ben Jonson’s Jacobean classic Volpone, the Amina Kadeya EP offers a musical extension of the show’s Zimbabwean Jazz fused score. Sadly cut short by the Covid pandemic, the show’s Musical Director and Composer John Pfumojena, alongside friend and long-time collaborator sax player Tawanda Mapanda have help to realise Volpone’s soundtrack for a digital stage. Ahead of the EP launch event, John tells us more about creating work during lockdown, a featured conversation presented by Tangle Theatre’s Chair of the Board Kofi Ohene-Djan between himself and Artistic Director Anna Coombs about the collaborative process and what to expect from the event.

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Courtesy of Smart Banda.

With theatre becoming increasingly more accessible to view online, this has opened up the possibility for cross cultural collaborations and audiences to watch performances they perhaps wouldn’t have been aware of before. Renowned for staging works showcasing the diversity of African culture, Artistic Director of Utopia Theatre Mojisola Elufowoju has introduced a season of rehearsed readings, each one off events taking place monthly, introducing to viewers a range of important African works. Ahead of the season’s second show ‘And the Girls in their Sunday Dresses’ by Zakes Mda, Mojisola tells us more about what inspired her to curate the shows chosen for the readings, how she’s approached creating work for the digital stage and what to expect from the season.

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