“Join the movement for righteous anger”
With over 100 cast, writers, directors and crew, and 25 plays (none of which were by Agatha Christie!) spread over 7 programmes, Sphinx Theatre’s Women Centre Stage: Power Play Festival was a full-on day indeed for those of us who stayed the course from midday to nearly 10pm, with scarcely time to imbibe yet another coffee as we moved from rehearsal room to studio to main house. But though I was 90% caffeine by the end, the buzz I was experiencing was one of delight at the sheer breadth and quality of the theatre we’d been privileged to witness.
The Women Centre Stage Festival was initiated by Sphinx to bring together artists, venues, commissioners and funders in expanding the range of women’s roles and this it has done in a number of different ways. Workshops ran throughout the week at the Actors Centre, a panel discussion broached the larger question of how to improve gender equality in theatre and the plays that were presented throughout the festival’s performance day ranged from works commissioned and developed from the 2105 festival, to the fruits of Sphinx Writers Group, to rapid responses to this week’s headlines. Continue reading “Review: Women Centre Stage: Power Play Festival, Hampstead Theatre”
“It’s something about my appearance that I can control”
The Women on the Edge session of the Women Centre Stage: Power Play Festival featured three works that were commissioned and developed from the 2015 festival held at the National Theatre. This just happened to include one of my favourite pieces from across the entire day – Camilla Harding and Alexandra Sinclair’s Man Up! Deceptively simple in its format yet deliciously complex in its subject matter, the pair give the lie to conventional gender norms and make a fabulously compelling case for the importance of recognising gender fluidity in society.
Their stagecraft is ingenious too, transformations subtly worked so that they were halfway complete before you clock exactly what’s going on. Judith Jones and Beatrix Campbell’s Justice has no such ambiguity about it, an emotionally bruising look at the lasting impact of the Cleveland child abuse scandal and the trials its victims face in trying to escape its shadow, in search of a truth, a resolution that might somehow set them free. Directed by Ros Philips, Claire-Louise Cordwell’s damaged warrior of justice is a brilliantly thorny part and contrasted well with Kathryn O’Reilly’s softer but no less fierce budding campaigner. Continue reading “Review: Women Centre Stage: Power Play Festival – Women on the Edge”
Monday 14th November sees the launch of the Women Centre Stage: Power Play Festival at Hampstead Theatre and The Actors Centre. Produced by Sphinx Theatre Company and Joanna Hedges, Women Centre Stage exists to promote, advocate for and inspire women in the arts and has developed and commissioned a wide range of new work which uniquely brings together a diverse array of women characters far from the margins into centre stage.
This is the second year of Women Centre Stage and the festival features a range of workshops and creative comings-together which will culminate in the Performance Day on Sunday 20th November which will feature seven programmes throughout the day. This will include opportunities to see emerging work from new and established writers, plays commissioned from last year’s festival, and see four playwrights respond the headlines of the day in writing a new play each in 24 hours.
Continue reading “News – Women Centre Stage: Power Play Festival begins”
“You know what London pubs are like – you don’t know anyone and no-one knows your name”
Looking back over the blog, it turns out I’ve seen Chekhov’s Three Sisters four times in recent years and all of them have been a modern updating of some sort and now I’ve seen FiasCo Theatre’s version at a spruced up White Bear Theatre in Kennington, I’m on five for five. This uncredited adaptation sees the sisters moved to present day Britain, moved by their father from their beloved London to an unspecified place in the north (with a train station 12 miles away) and a military garrison nearby.
The Prozorovs are rechristened as the Earnshaws and in a nifty bit of renaming that nods to one of Chehov’s possible inspirations, Olga, Masha and Irina have become Charlotte, Emily and Anne. Ed Sheeran and Bastille may blast over the stereo but otherwise, the modern references are just lightly sprinkled throughout in just the right quantity – it is a pretty respectful, condensed take on the story which reiterates the crushing paralysis of inaction no matter the time or place. Continue reading “Review: Three Sisters, White Bear Theatre”