Theatre

"'A kind of circus act between two people, of juggling all these emotions and arguments and sentiments’....The play is defined by that same sense of quirkiness, instability and fascination. I’d watch Blink over a tightrope act any day." Katie Kirkpatrick previews Frangipane Productions' latest play, 'Blink'

"The intense and nuanced performances, the queasy mix of fear and fury palpable with a small glimmer of hope, made Oxford’s Orestes a very capturing play." Marietta Kosma reviews The Oxford Greek Play's production of Euripides' tragedy "Orestes".

"These Quicker Elements is a remarkably polished piece of student drama. The acting is captivating throughout, managing to make a very simple set-up consistently captivating, and the script strategically reveals little gems of narrative information throughout its twists and turns while also speaking to bigger questions of memory, self-perception, and relationship dynamics." Ahead of its performance on Friday, 7th May, Katie Kirkpatrick previews "These Quicker Elements" by George Rushton.

"There were two questions heading into the night: how much money could the crowd raise, and how well have the comedians adapted their acts to fit the online format? Both questions were answered emphatically, as the audience raised over £3000." Noah Cohen-Greenberg and Owen Foster review the Zoom comedy fundraiser, Oxford Mind Comedy Gala

"Adapting to online technology was a necessity but I also felt that recent events provided a long-due kick in the backside to get narratives about Black experiences into the Oxford drama scene. Sure, we have ‘inclusive casting’, but this inclusivity isn’t currently extending into the voices being produced as far as it should." James Newbery interviews Sam Spencer about his upcoming project.

"Like the portrait tapping into the existence of its sitter in the original Wilde story, so is this year’s Dorian sucked into his online ego." Eleanor Zhang discusses the virtual production of Oscar Wilde’s enduring story of vanity, desire and self-deception.

"Musicals centred around teenagers are destined to become ‘cult’ shows: their audience is intrinsically niche, and, due to their youth, unlikely to be able to sustain commercially and critically successful runs, leading these shows to fan-centric cult status." Katie Kirkpatrick analyses how teen films are journeying from Hollywood to Broadway and the West End.

"To adapt such a complex series into a musical would be to severely undermine the weight of each of these topics and in turn, the production would do no justice to the character of Beth Harmon and the communities she represents." Beth Ranasinghe considers the obstacles in the path of adapting the hit Netflix show for the musical stage.

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

"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.

"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.

"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."

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.

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.

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.

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...

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.

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.

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.

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