Theatre

Review: Closer – ‘Where Marber fails’

Labyrinth Production’s staging of Patrick Marber’s 1997 play, Closer, was an ambitious move for a student-run production company. Ambitious as it was, the cast themselves put on a strong...
Theatre Faye Chang -

Review: JACK – ‘Gas-lit showstoppers, intrigue, and murder’

Jack The Ripper is arguably the most famous killer of the Victorian era. There...
Theatre Rhys Ponsford -

Review: Death of a Salesman – ‘The Inside of His Head’

To review Tiptoe Productions’ staging of Death of a Salesman, I must first contextualise...
Theatre Sanaya Narula -

Oxford’s summer scene: The season of open-air performances

Trinity term at Oxford University is defined by wisteria, wild swimming, and warmth. Students...
Theatre Elizabeth Bourn -
Latest

The Role of a Lifetime? It’s Never Too Late

While actors profit from an ability to be malleable, it is often the case that they are stuck playing the roles they are ‘right...

Review: Romeo and Juliet at the National Theatre

"Why stage Romeo and Juliet a year into a global pandemic? Godwin’s primary response to the pandemic appears to be the focus on touch in the production: it reminds us of the power of human contact, and the depth of feeling that can only be experienced in person." Katie Kirkpatrick reviews the new National Theatre production of Shakespeare's classic tragedy, Romeo and Juliet.

“If a book is well written, I always find it too short”: Our Ongoing Love Affair with Pride and Prejudice

"In Being Mr Wickham, Lukis and Curzon have had relatively free reign to develop the titular character, given that Austen doesn’t reveal much about Wickham’s past other than his involvement with Darcy." Beth Proctor discusses the latest left-field adaptation of Jane Austen's classic.

Review: Spoon River Anthology

"In a year with little to no available theatrical resources, the production team of Spoon River managed to create a magical experience of many intersecting forms of artistic talent telling important stories. From the editing of the audio file to the curation of the journal, the performance flowed seamlessly from sense to sense."

Modern musicals and new writing: where did musical theatre leave off?

CW: Addiction, rape, homophobia, conversion therapy, depression. "While the apparent lack of original musicals can feel disheartening, there’s actually a lot of original work out there." Katie Kirkpatrick looks at the state of new musical theatre.

Narratives of Grief: Creating ‘Opera for One’

This is a strength of the performance: with a range of experiences of grief explored by a variety of composers and librettists, no one singular experience is presented, but instead the performance looks at the nuances of the emotions of grieving.

Making “Magic”: A Revival of an Edwardian Fantasy-Genre Play

Magic lends itself well to the online format. It is a play of voices, of witty exchanges and mystifying, unseen events. The audience is called on to construct the setting from their imagination, inspired by the actors and the sound effects, resulting in a final product which is a collaboration between players and listeners.

Fun Home?

CW: sexual assault, child abuse, suicide, homophobia. 2015 was a great year in the history of musical theatre, possibly the greatest year of this century...

Zoom cuppers – a new sub-genre of theatre?

This was an entirely new experience, a mode of art barely explored before 2020 and something that I believed would benefit me to be a part of.

The comedy bug

No sympathy laughs from your mate when the joke doesn’t quite land; no in-jokes to fall back on; no new haircut to make fun of. Comedy is a savage mistress.

Creating theatre in a pandemic: Spoon River Anthology

Working with other people on Spoon River is definitely a welcome distraction from the monotony of being stuck in lockdown at home. It is truly inspiring to get to witness so many creatives coming together for this production.

“We’re going into a new territory”: interviewing theatre director Sally Cookson

Sally Cookson is a theatre director who has worked on productions for theatres including the Old Vic London, the Bristol Old Vic, the National...

Dick Whittington: not quite the win the National was hoping for

This version attempts to be the Hamilton of pantomimes, incorporating street dance, rap, pop ballads and frequent references to TikTok trends into an otherwise familiar tale.

Backstage takes centre stage: a look behind the scenes

It is at this moment that it becomes obvious just how important backstage is; it can quite simply carry the play or allow it to flop, making the phrase ‘break a leg’ cut a bit close to the bone.

Becoming Hir

The play’s cathartic nature hinges on New York playwright Taylor Mac’s darkly playful approach to gender issues.

Review: Mischief Movie Night

"Mischief Movie Night is a funny and engaging show that is sure to brighten up even the darkest lockdown night."

Reinvention: rethinking gender and race on stage

"Marginalised actors should not just be shoehorned into pre-existing plays without any respect or provision for the stories they have to tell. To do so is to package diversity into commercially successful morsels that are digestible for largely white, middle-class audiences."

The Show Must Go On…but not in every region of the UK

Several regional theatres have struggled to cope in the pandemic, due to persistent negligence and underfunding for decades, both by regional funding bodies and the government themselves.

Review: The Dancing Men

"The whole crew behind this production are worthy of praise for their resourcefulness, having produced a piece which works with, rather than against, its unusual circumstances".

Lighting: the art of manipulating the audience

The effect of light is upon the unconscious, unacknowledged unless you are thinking about it, but it’s influencing you all the same.
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