Posted on

10 questions for 10 years – Megan Vaughan

With nary an emoji in sight, Megan Vaughan answers Ten Questions for Ten Years with characteristic frankness

One thing Megan Vaughan and I have in common is that we both have quotes from Andrew Haydon on our websites – safe to say though, that hers is substantially more positive than mine! But he did have a point for once, Vaughan was (at least partly) instrumental in changing the conversation about online reviewing and not only that, she’s writing a bloody book about it. One to look out for I reckon…

Posted on

2015 Offie Award Winners

Offies Awards - Off West End Theatre Awards

Best Female
Linda Bassett for Visitors at The Bush and the Arcola Theatre
Laura Jane Matthewson for Dogfight at Southwark Playhouse 
Shannon Tarbet for The Edge Of Our Bodies at The Gate

Best Supporting Female
Leila Crerar for Martine at Finborough Theatre
Vicki Lee Taylor for Carousel at Arcola Theatre
Thea Jo Wolfe for Singing In The Rain at Upstairs At The Gatehouse

Best Male
Patrick O’Kane for Quietly at Soho Theatre
Harry Lloyd for Notes From Underground at The Print Room, Coronet
Robin Soans For Visitors at the Bush and Arcola Theatre Continue reading “2015 Offie Award Winners”

Posted on

2015 Offie Award Finalists

Offies Awards - Off West End Theatre Awards

Best Female
Linda Bassett for Visitors at The Bush and the Arcola Theatre
Laura Jane Matthewson for Dogfight at Southwark Playhouse 
Shannon Tarbet for The Edge Of Our Bodies at The Gate

Best Supporting Female
Leila Crerar for Martine at Finborough Theatre
Vicki Lee Taylor for Carousel at Arcola Theatre
Thea Jo Wolfe for Singing In The Rain at Upstairs At The Gatehouse

Best Male
Patrick O’Kane for Quietly at Soho Theatre
Harry Lloyd for Notes From Underground at The Print Room, Coronet
Robin Soans For Visitors at the Bush and Arcola Theatre Continue reading “2015 Offie Award Finalists”

Posted on

Review: This Is How We Die, Battersea Arts Centre

“Sounds, letters and words – weapons of our construction”

I do prefer to be able to make up my own mind about shows but sometimes it is hard to ignore the buzz around something. Christopher Brett Bailey’s This Is How We Die was one such show when it played Ovalhouse in the summer but a limited run meant I couldn’t fit it into the diary. After playing Edinburgh, it has now returned to the capital at Battersea Arts Centre and sold out its run before even starting. So it must be good yeah? Great, even. Everyone must be right. And yet, and yet…

It is undoubtedly a unique show. Hitting the ground at 100 mph before we’re even comfortable in our seats, Bailey’ whip-sharp, lightning-fast monologue hits with full force in its opening moments and just doesn’t let up – the simple act of listening results in what must be the theatrical equivalent of rollercoaster-face. Sat in the midst of a bare stage behind a desk and reading from a script, an unstoppable torrent of words spill forth, making us laugh and recoil and puzzle and wonder. Continue reading “Review: This Is How We Die, Battersea Arts Centre”