The likes of Hannah Khalil, Morgan Lloyd Malcolm, Sarah Niles and Juno Dawson deliver some excellent work in The Motherhood Project
“There’s so much talk of being perfect mums”
Ripping off the rose-tinted glasses and gagging any hint of yummy mummies with a used nappy, The Motherhood Project takes an uncompromising look at motherhood, shining a light on the things that the books don’t, or won’t, tell you. Suhayla El Bushra talks about the way it affects friendship, Jodi Gray and Katherine Kotz herself investigate the maternal instinct or lack thereof, Kalhan Barath speaks of her choice not to have children… Kotz, who is also the curator of the project, has gathered a mixture of monologues and musings, 15 short films in all, all seeking to redefine the modern myths around motherhood.
There’s eight new monologues here, plus one repurposed one, making this a significant piece of new theatre writing. Jenni Maitland details the traumatising physical effects of childbirth in Morgan Lloyd Malcolm’s Inside Me, how it can fundamentally alters women’s relationship with their bodies, an issue already skewed by societal pressures of the feminine ‘ideal’. Hannah Khalil also delves deep into the hidden truths of becoming a parent through the medium of the (useless) advice she was given, the lyrical bent of Suited perfectly matched by Caroline Byrne’s expressionist direction and a quietly blistering performance from Emmanuella Cole Continue reading “Review: The Motherhood Project”
Leading UK artists including Morgan Lloyd Malcolm, Athena Stevens and Anya Reiss will join Juno Dawson, Lemn Sissay and Naomi Sheldon among others for The Motherhood Project. Fifteen short films will explore the guilt, joy, absurdity and taboo surrounding motherhood in this online festival of dramatic monologues and personal reflections. The films will be available on the Battersea Arts Centre website from Monday 19th April; all ticket sales will include a 50% donation to Refuge.
Curator Katherine Kotz invited writers, artists and technicians to join forces and donate their time to create exciting new pieces to support vulnerable adults and children affected by the pandemic. Interrogating the relationship between parent and child, autonomy and responsibility, dramatic pieces were contributed by Irenosen Okojie, Morgan Lloyd Malcolm, Hannah Khalil, Anya Reiss, Suhayla El Bushra in addition to Naomi Sheldon, E.V Crowe, Jodi Gray, and Katherine Kotz. Continue reading “News: Morgan Lloyd Malcolm, Athena Stevens, Anya Reiss, Juno Dawson and Lemn Sissay among the line-up for The Motherhood Project”
With an unerring sense of timing, our dark November evenings now have the chance of being brightened by the theatrical wonder that was Morgan Lloyd Malcolm’s Emilia. An archived recording of the show’s 2019 West End production is being made available online for two weeks from 10th November.
I loved the show in its first run at the Globe and its subsequent transfer into the West End at the Vaudeville Theatre and I’m sure much of its power will be retained in its taping. And because the people behind the show really are good sorts, they’re using a pay-what-you-can model with the proceeds from the recording being shared across the entire team from the 2019 production. Continue reading “News: a stream of Emilia announced to get us through November”
The nominees for the 9th annual Mousetrap Awards are announced
These awards are voted for by young people, anyone aged 15-29 is invited to have their say as to who should pick up the trophies at the ceremony on Sunday 19th April. And while usual suspects Dear Evan Hansen, Waitress and & Juliet are leading the pack, it is nice to see such love for Small Island here too.
Mousetrap Theatre Projects strive to make London’s theatre scene accessible to young people, low-income families, mainstream and SEND state schools, and those with additional needs.
Voting is open until midnight on 23rd March via this link. Continue reading “Nominees for the 9th annual Mousetrap Awards”
With its focus on the small things, Sam Steiner’s play You Stupid Darkness! is a delicate but delicious thing at the Southwark Playhouse
“I’ll go and get a Jaffa Cake”
The world outside is going to shit and all you can rely on is the kind word of a gentle soul, if any still exist. So far so 2020, but this is also the set-up of Sam Steiner’s warmly inclusive You Stupid Darkness!, a Paines Plough and Theatre Royal Plymouth production seen on the south coast last year and now making its bow at the Southwark Playhouse.
Something apocalyptic has happened, society seems to be on the edge of collapsing and the shops are beginning to run out of doughnuts. Despite this catastrophic breakdown, volunteers still come once a week to answer the phones at Brightline, listening patiently to outpourings of woe from strangers, offering the hope of connection – a hope they come to rely on just as much. Continue reading “Review: You Stupid Darkness!, Southwark Playhouse”
Morgan Lloyd Malcolm’s Emilia transfers to the Vaudeville Theatre with all of its feminist fire and fun intact
“There’s a woman on the stage”
Is there anything currently on the London stage that is more gracefully eloquent than the moment that the transformative power of grief is writ large at a crucial point a third of the way into Emilia. It’s a rare moment of beautiful subtlety in a play that is more often considerably bolder in its sentiment but it’s also a mark of just how nuanced Nicole Charles’ production and Morgan Lloyd Malcolm’s writing is, even while some tie themselves in knots trying to square its historical and feminist credentials.
A transfer from Shakespeare’s Globe last summer (officially the 13th best show of the year doncha know) where its short run caught fire, its all-female and wonderfully diverse cast and creative team mean that all three of the Strand’s major playhouses currently have work written by women in them (I wonder when this last happened). And while that ought not to be noteworthy, god knows it still is and it all ties up rather neatly with Lloyd Malcolm’s writing. For though this is a play about a historical woman, it is also a play about all women. Continue reading “Review: Emilia, Vaudeville Theatre”
So much to keep on top of – pics from All About Eve, videos from Waitress, foodie secrets from Gingerline and casting news from Emilia
We’re just three weeks away from All About Eve starting previews and these rehearsal pics ought to whet anyone’s appetite.
And more importantly if you’ve not booked yet, details have been released about day seats and a front row lottery – this will definitely not be one to miss.
Day Seats: Available in person at the Box Office from 10am on a first come, first served basis. Maximum x2 per person. Limited availability. £25.00 per ticket.
Front Row Lottery: In partnership with Today Tix. More information on how to enter will be announced on the All About Eve social media channels from Friday 25 January 2019. Maximum x2 per person. £25.00 per ticket. Continue reading “Some goodies for a cold January Thursday”
In this year, at this time, with this message, Emilia feels more important than ever. a triumph
“We are only as powerful as the stories we tell…
we have not always been able to tell them”
Three weeks on holiday and completely off social media have been bliss but within seconds of switching back on, it was hard to miss the buzz around Emilia so I did the right thing and booked myself in at the Globe. And though I’d been forewarned, I still wasn’t quite prepared for just how much Morgan Lloyd Malcolm’s brand new play would so thoroughly shake the ground on which it was performing.
Ostensibly, Emilia is a piece of historical biography, a deep dive into the life of Emilia Bassano, a writer who was one of the first Englishwomen to publish an original collection of poems and as contemporary of Shakespeare, a possible inspiration to the Bard. With hard facts about her few on the ground, Lloyd Malcolm toys with this to suggest that that inspiration may have extended beyond giving her name to several of his characters across to providing a literary source from which to crib. Continue reading “Review: Emilia, Shakespeare’s Globe”
Morgan Lloyd Malcolm’s new play Emilia already looked like one of the top tips of Michelle Terry’s inaugural season at the Globe and with this cast announcement, Nicole Charles’ production fast becomes an absolute must-see!
Nadia Albina will play Lady Katherine
Anna Andresen will play Mary Sidney
Shiloh Coke will play Lady Anne Clifford
Leah Harvey will play Emilia 1
Jenni Maitland will play Countess of Kent
Clare Perkins will play Emilia 3
Carolyn Pickles will play Lord Henry Carey
Vinette Robinson will play Emilia 2
Sophie Russell will play Lord Thomas Howard
Sarah Seggari will play Lady Cordelia
Sophie Stone will play Lady Margaret Clifford
Charity Wakefield will play William Shakespeare
Amanda Wilkin will play Alphonso Lanier
In 1611 Emilia Bassano penned a volume of radical, feminist and subversive poetry. It was also the first published collection of poetry written by a woman in England. Lloyd Malcolm promises to reveal the life of Emilia: poet, mother and feminist from the 10th August. See you there? Continue reading “Round-up of news and treats and other interesting things”
“If I reprehend anything in this world, it is the use of my oracular tongue, and a nice derangement of epitaphs!”
Taking up residence at the Southwark Playhouse is this new production of Richard Sheridan’s The Rivals, mixing music and dance with a very high calibre cast to create a fresh new look at this well-known comedy. Set in eighteenth century Bath, it follows the efforts of the meddlesome Mrs Malaprop to marry off her niece Lydia Languish, who has romantic designs of her own, but with an array of suitors, some of whom are not all who they seem, the scene is set for a plethora of romantic capers.
I loved the opening: the cast trickle onto the stage and chat away to the audience as if we’re all here for a ball, then up strikes the music and there’s a wickedly subversive choice of songs for an opening dance number which set the tone for this mischievous little production. There’s a real convivial atmosphere throughout, with plenty of fourth-wall-breaking going on (be warned if you’re on the front row!) and the cast play up to the intimacy of the venue with a strong conversational style.
It’s led by a trio of high-profile female performances. The stunningly beautiful Charity Wakefield as a playful Lydia is spritely good fun and charmingly engaging and Ella Smith as Julia does well with the lightest of touches on some very wordy scenes and showing off a melodious voice and some flute-playing thrown in for good measure. But it is Celia Imrie as Mrs Malaprop who is the star of the show: this being my first viewing of The Rivals, I can hardly imagine anyone else doing better in the role, it seems tailor-made for her. She endows her with such warmth and humour that one tended to find oneself laughing with and not really at her, and it is genuinely distressing to see her discover the truth about who has written the letters mocking her. Imrie seizes every opportunity to display her comic chops too, the incredible misjudged verbosity is always well-delivered, the constant shooing away of the recorder-playing heralds was a nice touch and her seductive swaying is just a sight to behold. Continue reading “Review: The Rivals, Southwark Playhouse”