"Can we ever justify ticket prices of more than £200 given the theatrical experience involved – or are we just making theatre expensive and inaccessible?"
Paper Moon’s latest production, an immersive theatre experience called Cut, Paste, Enter. Took place this week at Modern Art Oxford. Ahead of their opening, Cherwell spoke to Chloe Dootson-Graube (Creative Director), Georgie Dettmer (Director), Grace Olusola (Writer), and Hannah Gallardo-Parsons (Sound Designer) about putting together this exciting new project.
In the maelstrom of reinterpretations of misunderstood Homeric women and Greek tragedy revivals, the show’s lyrics stand out for consistently centring the core themes and questions asked by the ancient texts themselves.
2nd May 1997 manages to use a pivotal moment in political history to explore three very different relationships and the difficulties they face. It is performed with grace and humour, using the political events as a mirror that reflects the difficulties of each pair’s situation.
I wrote Quartet over a year and a half ago in early 2020, sitting down for an hour every morning to chip away at it as my way of getting through a term in lockdown. Having handed over my script to the trusted hands of Alex Foster (director) and our stunning actors, I was itching to find out how Quartet has developed.
When I think of stage classics, productions like Les Miserables, The Lion King, and Wicked come to mind. These are all shows which hold...
'It is lovely to see theatre reset after so long, but it is inspiring to see it revive and attempt to do better.'
Drama Oxford student drama is probably pretty different from drama at school — there’s a really exciting atmosphere, you can try new things, and there...
'Spencer’s script never tries to be overly clever or conceptual, instead relying on its innately heartfelt character development and engaging humour.'
"I didn’t sit back and enjoy the show. And I ended up with a lot more opinions than I had ever expected four pieces of 21st-century choreography to evoke." Patrick Gwillim Thomas discusses the Royal Opera House's newest choreography project.