Elysium Theatre Company’s production adheres to the period of the piece, whilst engaging in the timeless battle between servant and master, man and woman.
All tagged Theatre Review
All I See Is You follows Bobby and Ralph as they navigate the illegal underbelly of Canal Street in the 1960s. At its core, this production grapples with injustice, adjustment and, ultimately, acceptance.
This sparkling showcase features big names from Ru Paul’s Drag Race alongside a skeleton cast of fledgling Queens. Together, they celebrate tongue-in-cheek amateur dramatics for a screaming crowd of superfans.
Jets, Sharks; Americans, Puerto Ricans; Men, Women: this is a land of opposites brought together in dissonance. Is it possible to bring a ‘love at first sight’ story into the Tinder-dominated age in which we now live?
Partners George Mann and Nir Paldi bring us No Kids; a presentation of their internal battles with potential parenthood. What is the price of “normality”? Children are bad for the environment, finances, careers, social lives, relationships, mental health and freedom... but Nir still wants a family.
Gossiping at the hairdressers; swapping endless stories; spilling emotional truths - these are just a few of the gendered stereotypes that the all male cast burst through.
It’s 2080 and the world is still no place for two women on their own. Mother Courage and Her Children is a story of unrelenting action, omnipresent political undertones, and a woman who adapts to survive - whatever the cost.
Mighty Heart’s last hurrah pays tribute to a troubled past, swims in happy memories, sharply comments on today’s society and speaks to future generations with hope and guidance. That’s no mean feat for two women in just an hour on stage.
Maids playing masters, maids playing murderers; men playing maids. This production of Jean Genet’s The Maids at once addresses gender roles head-on and never mentions gender at all.
The latest explosive collaboration from Unlimited theatre and, feminist favourites, RashDash, brings us into the realm of artistic sci-fi. A montage of two-person sketches explores the human relationship with the machine from a scattergun of different angles. Ultimately, Future Bodies becomes a question of the human relationship with our own corporeal being.
OthelloMacbeth brings together two of Shakespeare’s great tragedies. Promising to bring ‘the voices of some of Shakespeare’s most iconic female characters [...] to the fore’, this combination of plays reeks of ambition.
The eponymous Queen is interestingly mute for the first few scenes of this feminist re-framing of history. We are firmly grounded in the patriarchal realm of Renaissance drama (indeed, all drama), ready to be sprung into a new orbit.
The recent series at Manchester’s Royal Exchange theatre has taken on the important role of platforming the unheard. Real women are taking to the stage to sing some home truths and to celebrate the hard-won fight to have a voice.
For Breach theatre company, we live in a world where planning for the future is at odds with the constant threat of lacking a future altogether. We live under the looming threat of terror attacks or even “a tornado, probably with a woman’s name, so no one will take it fucking seriously”.
In a new adaptation by Bryony Lavery, who’s on a mission “to create iconic roles for women […] because the world is full of fantastic female actors”, Brighton Rock enacts the classic Graham Greene novel and aptly fits Week 53’s ‘coming of age’ theme.
Writers Rachel Wagstaff and Duncan Abel return the stage version of The Girl on the Train to the setting of Watford, refreshingly diffusing any sense of glamour and bringing a gritty domesticity to the drama.
“Fuck you and your excellent words.” Questioning how actors and audience ought to interact with the canon, RashDash explode onto the stage to fight for an artist’s right against the dictatorial bonds of the script.
Three men, eleven instruments, one psychedelic puppet show projection. Billed as "The Godfathers of Alternative Cabaret", The Tiger Lillies take to the stage to tell the story of Maria: a Mexican woman who escaped the clutches of the cartels and of the devil himself.
The entrance of a small, ghostly child, before the house lights go down, marks the opening of this latest production of The Cherry Orchard and suggests that this may not be Chekhov as we know.
Minefield marked the opening night of the ¡Viva! Festival! an annual celebration of Spanish and Latino culture, from HOME and Instituto Cervantes. Described as the festival that celebrates coming together in a world of division, this opening production exemplifies the spirit of cultural collaboration and provides a platform for unheard voices.