Reinterpreting the women of Greek mythology for today, the theatrical enterprise of 15 Heroines is a major achievement and a highlight of the year, digital or otherwise
“The gods should protect me”
15 Heroines comes to us in collaboration between the Jermyn Street Theatre and Digital Theatre as fifteen female and non-binary playwrights tackle Ovid’s Heroides, giving voice to the women of classical mythology anew. Split into three groups of five 15-minute monologues – The Labyrinth, The War, The Desert – this is a major theatrical enterprise that offers startlingly fresh perspective on these tales of old and serves as a reminder, as if it were needed, that men are trash.
Or more specifically, the men that we often describe as heros have serious issues when it comes to the women in their lives. There may be some excuse for the women left behind by The Trojan War – Sophia Eleni’s Love Island-esque but still sweet Laodamia is the wife of the first soldier killed as explored by Charlotte Jones – but more often than not it is just men being (fuck)boys. Lettie Precious delves beautifully into Oenone’s feelings about being abandoned by Paris for Helen, Ann Ogbomo’s righteous fury scalds the screen. Continue reading “Review: 15 Heroines”
Jermyn Street Theatre are thinking big once again, as their previously announced 15 Heroines project, in collaboration with Digital Theatre, reveals a titanic cast of actors to join the 15 female and non-binary playwrights commissioned to retell the stories of the women of classical myth. And not just that, Adjoa Andoh will be co-directing alongside Tom Littler and Cat Robey. Hook. Me. Up!
Full casting comprises Gemma Whelan, Jemima Rooper, Ann Ogbomo, Rebekah Murrell and Sophia Eleni in The War
Indra Ové, Rosalind Eleazar, Nicholle Cherrie, Eleanor Tomlinson and Martina Laird in The Desert and
Olivia Williams, Nadine Marshall, Doña Croll, Nathalie Armin and Patsy Ferran in The Labyrinth. Continue reading “News: Jermyn Street Theatre’s 15 Heroines announces a truly heroic cast”
Jermyn Street Theatre has joined forces with leading internet theatre platform Digital Theatre for a major new online project to be produced this autumn.
15 Heroines sees fifteen female and non-binary playwrights re-telling the stories of the women of classical myth. Inspired by Ovid’s The Heroines (Heroides), a collection of fifteen fictional letters written in the first century BCE, the project is produced and directed by Jermyn Street Theatre’s Artistic Director Tom Littler. The writers comprise April De Angelis, Stella Duffy, Samantha Ellis, Lorna French, Juliet Gilkes Romero, Natalie Haynes, Charlotte Jones, Hannah Khalil, Bryony Lavery, Isley Lynn, Lettie Precious, Sabrina Mahfouz, Chinonyerem Odimba, Timberlake Wertenbaker and Abi Zakarian. Continue reading “News: Jermyn Street Theatre and Digital Theatre join forces for 15 Heroines”
I ask playwright Abi Zakarian to kick off round two of my 10 Questions for 10 Years feature
Abi Zakarian’s I Have A Mouth And I Will Scream kinda blew the roof off the VAULT Festival in 2018 and so she’s definitely a writer to watch out for, if indeed she’s not already on your radar – she has won a Fringe First too. But it is I Have A Mouth… that I will be putting on in my theatre when I win the lottery and I asked Abi to kindly share some thoughts about the play:
“Apart from the unbelievable amount of love and revolutionary fervour it seemed to inspire I actually really loved your review of it Ian – the bit at the end where you stated you’d changed your font for the review because of what you’d read in the Womanifesto made me choke up a little bit. So thank you.”
Where were you 10 years ago?
I was still working full time as a picture editor for a newspaper, writing plays in my spare time and having absolutely no clue about the byzantine nature of this industry, trying to pick it up as I went along, like a fool.
Continue reading “10 questions for 10 years – Abi Zakarian”
Flashes of excellence can be found in the midst of any production so this list celebrates some of those breath-taking and/or memorable moments that really made theatregoing enjoyably fun this year.
For reference, here’s my 2017 list, 2016 list, 2015 list and 2014 list.
Being your hero!
No word of a lie, my happiest memory from inside a theatre has to be Knights of the Rose. Nothing about the overblown opening night (including real roses on the seat) prepared us for the moment someone broke out into Enrique Iglesias’ ‘Hero’ in what had been heavily trailed as a rock musical. Kudos to the cast for continuing valiantly on, and thanks for the entertainment. Continue reading “10 of my top moments in a theatre in 2018”
“We don’t need a book, what we need is action”
The publicity for Abi Zakarian’s I Have A Mouth And I Will Scream puts it better than I ever could – it’s “a play-performance-art-protest-thing.” With one of the funniest lines I’ve heard in a theatre this year, involving Sean Bean. Directed by Rafaella Marcus, the show has all the raw energy of devised work but also carries with it the weight of something much more deeply considered.
I Have A Mouth… is an attempt to “address every single feminist issue in the space of sixty minutes” and does so, with its company of six, in a mightily anarchic manner. These are women who are just as likely to spit in a mirror, throw a tampon at you and bite the head off a wedding bouquet than sit quietly in the corner and put up with the patriarchy any longer and fuck knows, they’ve got every right to be angry. Continue reading “Review: I Have A Mouth And I Will Scream, VAULT Festival”
“We’re gonna Jean Valjean the shit out of this”
PLAY – The Subterranean Season takes in plays 23-26 in their ever-growing programme of short plays, devised in just two weeks by a collaboration of writers, directors and actors up for the challenge of creating something sparklingly, spankingly, brand new and fresh. I saw PLAY Theatre Theatre Company for the first time at the VAULT Festival last year and fell for them hard, as is evident from the pull quote they’ve opted to use on their publicity this year (one for my scrapbook!).
As ever, the four PLAYs cover a wide range of themes and styles, from the deceptively whimsical to the psychologically acute, sometimes within the same 15 minutes. For me, Aisha Zia’s 24 and Miriam Battye’s 26 achieved this balance perfectly, the former (directed by Holly Race-Roughan) mixing hipsterish shenanigans with guitars and cardboard boxes with a darkening look at the desperation of flat-hunting in South London. And the latter’s portrayal of an intense friendship was breath-takingly good, Matt Harrison teasing some sensational work from Emily Stott and Jessica Clark. Continue reading “Review: PLAY – The Subterranean Season, VAULT Festival”
Asked to respond to the provocation “well behaved women seldom make history”, 4 writers have produced 4 plays, Programme B
of the RSC’s Midsummer Mischief contains the plays I Can Hear You by EV Crowe and This Is Not An Exit by Abi Zakarian and as with Programme A, I am expressing myself through the medium of Rupaul’s Drag Race (gifs courtesy of Fuck Yeah Drag Race
) – mischief indeed.
Once again, the seating. It may well leave you like this.
And though I’m onside with the feminists, I have to say this double bill left me disappointed.
Some may not be surprised I didn’t like Crowe’s piece (we do have history…
) but though it may seem I am…
…I do try to remain open-minded, honestly. This “naturalistic supernatural” story achieves little though.
And Zakarian, a writer with whom I was previously unfamiliar, also failed to make much real impact.
So whilst I wouldn’t want to be accused of being too harsh…
…there’s no doubt that out of the pair of them, Programme B needs to sashay away.
Running time: 1 hours 50 minutes (with interval)
Booking until 12th July and then playing the Royal Court 15th-17thJuly