What the concept of family means to us is personal to us all, these bonds our initial encounters with the world and ones that shape how we access life’s daily encounters. For children who become the carers of their parents from either a young age or older, this role reversal of the provider now becoming the one that’s cared for is a stark one. Exploring this seldom talked about reality of life in their topical show All The Happy Things, writer Naomi Denny‘s play examines themes of sisterhood, care, mental health, relationships and grief in this 60 minute work.

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In what is a very significant time in terms of examining Black history and World history, it’s incredibly important to learn of the perspectives of those oppressed. During the height of the European expansion of empire, Britain established their intentions to also own parts of the world, the East India Company a strand of their colonial ambitions that would see them overthrow and uproot various nations in Asia before seeking domain across continents. During a voyage to South Asia in 1607, a crew of sailors on board the Matthew ship stopped off in Sierra Leone, the interaction recorded within a ship’s log, and one that involved the crew performing Shakespeare’s Hamlet – a questionable gesture that would play a part in their strategic ploy to colonise Africa.

Courtesy of Dan Fearon Designs.

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The mother/daughter bond is one of the most sacred ones we’ll experience, this taking on various forms dependent on one’s own circumstances. Cultural expectations a layer that inevitably shape how this bond develops. An honest exploration of the mother/daughter bond within a working class Muslim household, writer Ambreen Razia presents Favour, a multi-generational take on the resilience of women and cultural clashes between tradition and progression.

Courtesy of Suzi Corker.

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The Royal Theatrical Support Trust (RTST) and Nottingham Playhouse are delighted to announce Stephen Bailey as the winner of the 2022 RTST Sir Peter Hall Director Award and Beth Shouler as the runner-up.

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Determined to improve the representation of disabled artists on our stages and screens, award-winning actor and public speaker Julia Hales has broken barriers by becoming the first TV host living with Down Syndrome to present on Australia’s national broadcaster ABC. Initially performed in 2018 as part of Perth Festival, before being staged in 2019 as part of Black Swan State Theatre Company’s season, her show You Know We Belong Together, will make its UK premiere at the Southbank Centre, Purcell Rooms from the 18th to 20th August, before a run at this year’s Edinburgh Fringe Festival. A collaborative effort including fellow ensemble members Joshua Bott, Patrick Carter, Tina Fielding, Mark Junor, Melissa Junor and Lauren Marchbank, You Know We Belong Together is an exploration of the ensemble’s personal experiences and their day to day realities via monologues, video, scenes, dance and song. Ahead of the production, Julia tells us more about exploring the show’s themes further, her inspirational advocacy journey so far and what to expect from the show.

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Recorded in the ship’s logs in the early 1600s, English sailors voyaging on behalf of the East India Company stopped off in Sierra Leone where they performed Shakespeare’s Hamlet to local dignitaries. Although Shakespeare was an active playwright of the time, the gesture is one that is questioned, why? An examination of this encounter, which predates the Atlantic slave trade, multi award nominated writer Rex Obano presents The Hamlet Voyage – an age before British imperialism and before Shakespeare becoming globally recognisable. Having played at Bristol Harbour Festival’s 50th anniversary on board the Matthew ship, a replica sailing ship, the production will play at the Bridewell Theatre from the 20th to 23rd July. Ahead of the London premiere, Rex tells us more about exploring this part of world history further, working with the production team to realise the show and what audiences can expect!

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Twenty-four deaf and disabled writers, directors and producers have ‘graduated’ from a free new course that sets them on the road to a career in the theatre industry. The joint venture between Leeds Playhouse, Sheffield Theatres and Ramps on the Moon gave eight early career writers, directors and producers (24 in total) the opportunity to enhance their skills, create valuable connections and develop new work guided by industry professionals in a supportive, inclusive setting.

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Corteo translates as ‘cortège’, a solemn procession, especially for a funeral in Italian – in what has been a tough time globally in light of the pandemic, a reality sadly quite familiar to many. Initially performed in a smaller venue in Montreal in 2005, Cirque du Soleil’s Corteo has gone onto to be enjoyed by millions of theatre fans, having returned for an arena tour in 2018 at the Royal Albert Hall  before being prematurely interrupted by the pandemic in 2020, the show currently returns, but at the O2 to mark our current times.

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Having debuted on BBC Two in October of 2013, Steven Knight‘s crime drama Peaky Blinders has gone onto capture the nation’s imagination. Named after a Birmingham-based youth gang who were active during Victorian England and in the lead up to World War I, the show offers a fictional glimpse into the world of a working class collective and their needing to do what it takes to survive. Five years in the making, fan of the show Brian Hook, chief creative officer of theatrical company Immersive Everywhere delves into the Peaky Blinders gang further with immersive production Peaky Blinders: The Rise.

Courtesy of Mark Senior.

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