Never seen a play so earnestly heart breaking. I had high expectations going in which usually makes me weary because, being a critic, the worst feeling is being disappointed. Especially by someone as big a deal as Lenny Henry who has been entertaining the nation since the 70s. He’s been a big deal for so long it’s easy to forget why. Well, this play will tell you why.
Courtesy of Tristram Kenton.
The Bush continue to programme shows that inspire nostalgia from our childhood. Last time it was sibling dynamics and the reminiscent smell of incense with the House of Ife and before that it was the solidarity of estate communities and chicken shops with Red Pitch. Sleepova evokes the glorious intensity that comes with the intersection of female love, friendship, and teenage angst. Matilda Feyiṣayọ Ibini’s commentary of the importance of black female friendships is bursting with dark humour and relentless joy.
Courtesy of Helen Murray.
In this series of 90-minute workshops designed for theatre freelancers, Bush Theatre staff team will share their knowledge in various areas of the business side of creative life. Each of the workshops will be informative and interactive and aimed at freelancers.
Folklore ties us back to our ancestral roots, narratives that effortlessly incorporate the lands they were birthed in and carry with them profound messages. The tale of Eze and the Kola Nut Tree within the Igbo (eebo) language native to Nigeria, West Africa one that ties those of the Nigerian diaspora, in particular Igbo to their horticultural roots. Initially debuting at the 2020 VAULT Festival, Tania Nwachukwu‘s The Kola Nut Does Not Speak English embraces what it means to be connected to one’s familial home yet embrace their UK heritage.
Courtesy of Ali Wright.
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.
How we process grief is unique to us individually and how families mourn together can either bring everyone closer together or drive everyone further apart from one another. The process of a funeral an incredibly emotive one, a ceremony offering that vital opportunity for all to say their final goodbyes, cultural roots governing how funeral rites are observed. An exploration of loss, family and migration, writer Beru Tessema presents House of Ife, a drama observing a family confront the unsaid and traumas that they’ve lived with after the loss of family member Ife. Due to play from the 29th April until 11th June at the Bush Theatre as part of their 50th birthday celebrations, Beru tells us more about exploring the show’s themes, working with Artistic Director Lynette Linton and what he’s learned from the show’s creative process!
Lava is more than a play, more than a compelling spoken
word piece; it’s Benedict Lombe’s unfiltered, loud, angry,
joyful, unapologetically black female expression – all wrapped
up in a narrative that runs parallel to the history of the western world.
Natasher Beecher, Afridiziak Theatre News
The impact of an aquired brain injury (ABI), an injury sustained via various causes including a fall, road accident, tumour or stroke can vary dependent on the patient both in the short term and long term. ‘Behavioural and emotional changes, hormonal imbalances, difficulties with cognition and memory, communication problems and fatigue (Headway Brain Injury Charity) issues that can arise as a consequence. Inspired by her own personal experience of her father dealing with a brain injury during her childhood, writer and performer Kristin Mcilquham presents Headcase, a one woman comedic monologue delving into the impact of a brain injury on families supporting their loved ones and the impact of this years post the initial diagnosis. Forming part of the Bush Theatre’s Essex:On Stage Season, Headcase will play from 11th to 16th April. Ahead of the show, Kristin tells us more about exploring this personal story further, working with the Headway Brain Injury Charity to help realise the show, supporting particularly within the research process and what audiences can expect from the show.
Tyrell Williams’s first full length play directed by visionary Daniel Bailey makes its stunning debut at the Bush Theatre to rapturous applause, laughter, and cheer. As I join the audience in their standing ovation, I struggle to find a single piece of constructive criticism. I whoop and whistle even though my throat is parched from laughing throughout. This play is perfectly written, perfectly produced, and perfectly performed by three incredibly talented young men who tell Williams’ story with comedic genius, high energy, and emotional mastery.
Courtesy of Craig Fuller.
Within the past decade, we’ve witnessed the brave and pioneering work put in by sporting legends of the past really making its mark. From sponsorship opportunities, to support for mothers, to the awareness brought towards women’s sport, the battle for much needed endorsement and support within women’s sport has been a lengthy one, and one that continues to be battled, both on and off the sporting arena. Examining the advocacy aspect of sport within her sporting drama Fair Play, Ella Road crafts a complex portrayal of training, competition and the advocacy that goes on behind the scenes to help ensure a fairer playing field.
Courtesy of Ali Wright.