The Union Theatre’s Romeo and Juliet by William Shakespeare and directed by Andy Bewley is tackling the subject of homosexuality within sport head on, and is showing us that Shakespeare is still relevant in the 21st century.
Brutally honest, mettlesome and presenting a thirst for political agency, Everything Between Us by David Ireland is a breakthrough for New Writing. In its English Premiere the production is an intimate insight of disparity, consulting the lives of two sisters affected by their own displacement, political efforts and personal corruption.
The lights are off at the Underbelly Festival, with the Southbank’s annual comedy & cabaret takeover well underway for another year.
To make it within the arts, you have to have the passion and the determination to succeed. The industry is incredibly competitive, and what can often be glossed over are the countless amount of auditions attended to gain that lucky break. Performer Aaron Rahn is currently embarking on this journey, and is also adding a touch of the West End at Leon-a restaurant embracing the arts and bringing a slice of theatre to the dining experience. Aaron talks about his time at Leon, his inspirations as a performer and offers very useful advice.
“Currently on international tour, Cheek By Jowl’s tale is a modern telling replete with creative solutions to a tricky Problem Play, balancing truth and a sense of play.
Courtesy of Cheek by Jowl.
Hailing from Chicago, veteran improv performers, TJ and Dave, take their eponymous show to Soho Theatre. After a few perfunctory words of introduction, the pair launch into a long-form improvised set, running just under an hour.
Courtesy of Soho Theatre.
Simon Stephens and Imogen Knight have teamed up once more to mix dance with theatre. Call me simple but a production titled Nuclear War does invoke expectations that there will be some global crisis in its make-up. This is not the case with Stephens’ latest piece.
Courtesy of Chloe Lamford.
Artist Director Paul Miller directeds this run of The Lottery of love and it definitely seems a lucky dip of highs and lows.
Artistic Director of Baltimore Centre Stage Theater, Kwame Kwei-Armah tells us more about the venue!
Evening Standard Award winner Kwame Kwei-Armah blazed the trail in 2003, with his fifth work, Elmina’s Kitchen becoming only the second play written by a black playwright to be staged at the world renowned National Theatre. The play would also become Olivier Award nominated, and would also televised, further highlighting the playwright’s ambition and talent. Fast forward to 2017, and Kwame has helped to steer the Baltimore Centre Stage Theater into a collaborative, digitally aware and dramaturgically driven direction, taking on curatorial responsibilities as the theatre’s Artistic Director. Find out more about how the celebrated performer and playwright decided to take on this exciting role in the U.S.
When Albert Camus wrote his novel The Plague in 1946, it was considered a metaphor for the rise of fascism. Although director Neil Bartlett usually shies away from adapting novels because it is so very difficult, he felt that this particular work remains highly relevant today. Bartlett keeps all of Albert Camus’ – translated – words and only cuts and reworks the novel according to his concept.
Courtesy of the Arcola Theatre.