Said to be the blueprint of many of the classics we are familiar with today, 4,000 year old Egyptian poem Sinuhe and the King receives an adaptation from critically claimed Nigerian writer and poet Ben Okri OBE.
Courtesy of Marc Brenner.
Courtesy of Foteini Christofilopoulou.
Seeking inspiration from the ancient Egyptian tale Sinuhe the Warrior King, celebrated writer and poet Ben Okri OBE presents Changing Destiny, an adaptation of the 4,000 year old poem. Having helped shape the show’s movement element and aesthetic, movement director Rachael Nanyonjo, whose credits include the National Theatre, BBC, Sky Arts amongst others, tells us more about what drew her to take part in the production, how she’s approached creating the show’s choreography and what she’s taken away from the process.
Hi Rachael, Ben Okri’s Changing Destiny will be showing at the Young Vic from late July. How are you feeling ahead of the run?
We have all, as a team, been working really hard to bring this story to life. Making work coming out of the pandemic is not an easy thing, however, it has allowed us to examine our practices and processes in order to work more productively. I am feeling very excited for audiences to experience what I believe is a really innovative production and piece of storytelling.
Marking its 50th year, the Young Vic celebrates with a year-long programme paying homage to the venue’s legacy of creating ‘an experimental workshop for authors, actors and producers’ as well as factoring in affordability. Established by Royal National Theatre Associate Director Frank Dunlop, successive Artistic Directors Michael Bogdanov, David Thacker, Julia Bardsley and Tim Supple, Tim Supple, David Lan and now currently Kwame Kwei-Armah have shaped the venue into what it is today. Commemorating the past as well as envisioning the venue’s future, Kwame tells us more about the venue’s initial programme, possible plans for a block party to mark the important milestone and his hopes for the theatre moving forward.
Once every few years, a show will arrive on the London stage which genuinely warrants the description “must see”, a show which asks fundamental questions about the act of theatre itself; what it can be, and what it should be.
Courtesy of Marc Brenner.
Jesus Hopped the ‘A’ Train delivers a compelling portrayal of faith, religion and morality. Kate Hewitt’s adaptation of Stephen Adly Guirgis’s dark comedy strikes a brilliant tonal balance of humour and emotional weight. It follows the literal and internal trials of Angel Cruz (Ukweli Roach) and the characters that he meets during his incarceration awaiting trial. The humour lands well, natural and unforced, often the room erupts in laughter; yet Hewitt’s adaptation truly shines in its more intimate moments. The characters engage in profound questioning of a higher power whilst battling their own inner turmoil, fighting demons conjured by their past actions and whether faith can relieve them of their own culpability.
Courtesy of Johan Persson.
The Events, David Grieg’s most recent play, is directed by Ramian Gray and is currently showing at the Young Vic Theatre. The play follows the story of a priest, Claire and a Boy, It is a response to the killings in Oslo, Norway by Anders Behring Breivik.
Presented as part of the LIFT festival 2014, Belarus Free Theatre return after a successful run with their show Trash Cuisine and with them bring the thought-provoking ‘Red Forest’. Focusing on the issue of man-made destruction, the production follows protagonist Aisha as she travels the world in the search of safety for herself and her daughter.
