Clarion is nothing if not the darkest of satires, the dark night of a very grubby soul – the soul in question being what passes for our free tabloid press.
A rare play by prize winning author, Doris Lessing who died in 2014. Each His Own Wilderness had a staged reading at the Royal Court in 1958 but Paul Miller now running the Orange Tree has provided Lessing’s extraordinary play with its first full production.
Bliss it was and very heaven to be in Switzerland in 2010 to bid for the right to hold the Football World Cup in 2018. Or was it?! William Gaminara’s new comedy takes us to the heart of the process. And it’s an absolute corker.
Everyone has heard of Robert Capa and his Spanish Civil War photos. Less if nothing is known except to the cognoscenti – and maybe not even they until a few years ago – about the woman alongside him, who helped his break into photojournalism and joined him in Spain.
A trawl through an old school year book and the realisation of how many contemporaries had ended their own lives underlined for writer Pearse Elliott the truth that suicide is so prevalent it has acquired the force of the inevitable.
Two plays about the black community, one a revival set in Trinidad in the 1950s, one even earlier, set in the US in the early part of the 20th century. Both have plenty to tell us about the communities from which they’ve sprung.
John Ford (1586-c1640) doesn’t make it easy. A play, set in Sparta (in Elizabethan costume) about jealousy, love and revenge, his language and construction not to mention names of characters – Orgilus, Amyclas, Nearchus, Prophilus, Ithocles etc – stretch comprehension not to say pronunciation to an actor’s and audience’s limit.
Stevie `Peggy’ Florence Margaret Smith was north London’s singular Palmers Green poet of suburbia. If John Betjeman was sometimes able to cast a rosy glow over suburban life, `Stevie’ Smith is the one who consistently bursts its bubble with a keen eye and acerbic tongue.
This is political theatre of today at its most dynamic. Lustgarten’s play is set during the controversial 2011 Roboski massacre when Turkish Armed Forces dropped bombs on unarmed smugglers.
This is a modern realisation of Sophokles’ political drama that is as pertinent now as it was in the late 440s BCE.
Greek tragedies have a way of speaking to us in ways that constantly surprise by their apparent contemporary relevance – none more so than Antigone, the sister who is driven to follow her instinctive desire to bury a dead brother despite an interdict declaring him a traitor and therefore unworthy of a proper burial.
Margaret Hollingsworth finds herself needing to think deeply about an intentionally chaotic modern mystery play devised by the Birmingham based company Stan’s Cafe