Michele Austin, Natalie Dew, Georgie Fellows, Zainab Hasan, Camille Mallet de Chauny, Rebekah Murrell, Amaka Okafor, Kimberley Okoye, Alexzandra Sarmiento, Irfan Shamji, Sophie Stone, Ragevan Vasan and Danny Lee Wynter have been cast in Edition 1 of the Royal Court Theatre’s Living Newspaper: A Counter Narrative. Continue reading “News: Cast announced for Royal Court’s Living Newspaper”
Metta Theatre and Aria Entertainment – two of the UK’s leading production companies devoted to British musical theatre – are pleased to announce that the album for brand-new life affirming musical THE RHYTHMICS, is now available via Spotify, iTunes, Amazon Music, Apple Music and many other digital platforms. With book and lyrics by Metta’s Artistic Director Poppy Burton-Morgan, and music & lyrics from Stiles&Drewe award winner Ben Glasstone (Reanimator), THE RHYTHMICS explores the crisis of masculinity via a collection of oddballs belting their way through a thrillingly catchy guitar led score.
Hapless single-dad Grey is in a rut. Teenage daughter Silva packs him off to revive his rockstar dreams, successfully auditioning for ‘Nick & the Rhythmics’ only to realise… he’s actually signed up for an All-male Rhythmic Gymnastics troupe. Against the odds these burly blokes make it as far as the World Championships – twirling their ‘ribbons of fire’ – and along the way Grey finally learns to commit to life. Calendar Girls meets Full Monty in this joyous new British musical. Continue reading “News: new musical The Rhythmics releases album and video”
I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
All the Web’s a Stageis a streaming initiative consisting of 12 marvellous jam-packed hours of all your favourite performers from the West End and theatre to comedy, drag and magic!
It’s fitting that the free livestream will be held on Thursday 23 April, Shakespeare’s birthday and the date that theatres began their process of restoration after strict censorship in 1661, the last time British theatres were ordered to close for a prolonged period.
The livestream is raising money for our artistic comrades who have been severely impacted by Covid-19. Whilst we appreciate the government’s initiatives, and the support made available for many self-employed workers, there are still many freelance artists who fall through the cracks of these new government programs. As a result, thousands of artists who are now unable to earn an income are facing the coronavirus crisis with no available financial support.
You can watch the livestream on the Theatre Together website or on the Theatre Together Facebook page this Thursday from midday. Continue reading “News: #AllTheWebsAStage details announced”
Tapping into the Hong Kong resistance movement, Freedom Hi 自由閪 is a piece of inventive chaos at the VAULT Festival
“Let our rage not be crushed
Let our fears not be ignored
Let our silence be defiant
Let our words soar”
As a compilation of new writing and performance art by UK based Hong Kong and British East Asian artists, Freedom Hi 自由閪 is necessarily a messy and complex thing. Which makes trying to review it in the conventional sense something of a fruitless enterprise (some might say that about reviewing anything at all…!!).
Anchored by a brilliant use of technology – joining the show by Telegram is an additional route in for the audience – and compiled by Kim Pearce for Papergang Theatre, the result is a dizzying montage of dance and drama, poetry and prose, interactivity both in person and onscreen. It aims, and shoots, high and the resulting scattershot fall is thus varied. Continue reading “Review: Freedom Hi 自由閪, VAULT Festival”
An app, a walking tour, audio dramas, augmented reality and music, Augmented Chinatown 2.0 is definitely looking to the future here
“What actually is the Chinese history of this area?”
You have to admire an arts festival that is determined to push boundaries and with Augmented Chinatown 2.0, the Chinese Arts Now Festival is certainly doing that. Download the app onto your phone and a brave new world of augmented reality, specially commissioned music and audio drama is yours, as you’re taken on a walking tour around London’s Chinatown.
It’s a bold and expansive project and as with many technologically-forward things, some aspects work better than others. Playwright Joel Tan’s script is beautifully composed, blending historical detail with socio-cultural commentary to delve into the layers of these Soho streets, of which Chinatown is just the latest. It really does manage that wonderful trick of making you see familiar sights anew (look out for those floor mosaics!). Continue reading “Review: Augmented Chinatown 2.0, Chinese Arts Now”
Intriguing subject matter can’t quite elevate Pah-La above its frustrating structural issues at the Royal Court
“You are unsure whether you are here or not but you are absolutely sure that Tibet is yours”
I was a huge fan of Abhishek Majumdar’s hugely atmospheric The Djinns of Eidgah, so was intrigued to see him return to the Royal Court with new play Pah-La. Set in Tibet, it circles around the realities of political protest under an oppressive regime, particularly in light of native Buddhist philosophy.
As Chinese interlopers arrive in Eastern Tibet to ‘re-educate’ the masses, the threat imposed on the local nunnery is personified in the form of Deshar, a woman who took the habit in defiance of her father’s wishes and shows similar obduracy now, to searingly horrific effect. Continue reading “Review: Pah-La, Royal Court”
Daniel York Loh’s Forgotten 遗忘 proves an invaluable history lesson at Arcola Theatre in a co-production from Moongate and Yellow Earth
“Whose side are we on?”
The obsessive focus on highly-skilled migrants that characterises so much of the administration’s thinking on immigration neglects one crucial detail – that it is so often migrants who end up doing the kind of criminally low-paid, thankless jobs that our society relies upon and rarely acknowledges. Of course, this kind of erasure is nothing new but it is still a shock to discover the history lesson that Daniel York Loh has in store for us in Forgotten 遗忘.
For his new play tells us the story of the Chinese Labour Corps – the hundreds of thousands of rural Chinese workers who were recruited to work by Britain and her allies in the trenches World War I. Not as soldiers but labourers cleaning machines, digging trenches, removing bodies – an integral part of the war effort but one whose contributions remain entirely undersung. And as we approach the centenary of Remembrance Day, what better time to redress this. Continue reading “Review: Forgotten 遗忘, Arcola Theatre”
“You all look Chinese to me”
Just a quickie for this web series which I’ve been meaning to get around to for ages now. Written by Rebecca Boey (with Daniel York contributing one of the nineteen short episodes), Jade Dragon is a mockumentary series set in a Chinese takeaway which does a couple of crucial things.
One, it represents a much-needed, and still all-too-rare, opportunity for actors of East Asian heritage to work in a British media that feels stubbornly resistant to crossing this particular Rubicon of diversity. But it also offers up a non-judgemental, matter-of-fact presentation of what that British East Asian experience looks like in all its varied racism from overt violence to subtle othering. Continue reading “Web Series review: Jade Dragon”
“Why do you silence me?”
A break from the old routine for the RSC here, with a play from the 13th century. Not only that, Frances Ya-Chu Cowhig’s Snow in Midsummer is an adaptation of Yuan dynasty drama The Injustice Done to Dou E by Guan Hanqing, marking a key milestone in the venerable institution’s avowed change of policy after the The Orphan of Zhao debacle in 2012. Transplanting the narrative into contemporary China, Cowhig and director Justin Audibert smash the ancient and the modern together to startling effect.
Dou Yi (Katie Leung) was a young widow executed for murder in the industrial town of New Harmony, proclaiming her innocence all the while and cursing the community in her final moments. The play starts properly three years later with her curse having come to pass, drought has devastated the area and local factories are on the brink of closure, Dou Yi’s spirit restlessly haunting them all, determinedly awaiting exoneration. A newly arrived businesswoman (Wendy Kweh) scents a takeover but as her young daughter’s dreams take a disturbing turn, she can’t help but get sucked into this world. Continue reading “Review: Snow in Midsummer, Swan Theatre”