Philippa Kaur

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    Interview: Unravelling the mystery of Mangled Yarn

    Christopher Smart on Mangled Yarn’s Christmas show, It’s A Wonderful Life

    Our latest guest on The Everything Theatre Podcast is Christopher Smart from Mangled Yarn Theatre. This time last year they released Every Time A Bell Rings, their “prequel” to the Christmas classic, It’s A Wonderful Life. It was a show we loved when we reviewed it online, so when we heard this year they were putting on It’s A Wonderful Life, both in person and on-demand (to be recorded on Christmas Eve) it seemed a great chance to speak to them about both shows, their association with The Place Theatre in Bedford, and what else they might have planned for next year.

    And as an added bonus, as well as Christopher, we were treated to the company of his five month old puppy who makes a guest appearance once or twice!

    It’s A Wondeful Life, The Place Bedford

    Christmas Eve. George is contemplating ending his life: He never got out of Bedford Falls; the bank is on the verge of closure; Potter is closing in; and his blasted kids won’t stop practicing the infernal piano. It’s all too much.

    Now only Clarence Odbody, Angel Second Class, can save him and finally get his wings… This winter come and witness the joy and feel good fuzziness of the salvation of George Bailey, because now more than ever we need to remember IT’S A WONDERFUL LIFE!

    Mangled Yarn will reimagine one of the greatest Christmas movies of all time. For Christmas 2021, The Place Bedford and Mangled Yarn will bring this all time Christmas classic to life as you have never seen it before: filled with magic, music and Holdiay spirit!

    Four actors will take on every character using live music, puppetry and a sack load of Christmas magic to bring Bedford Falls to Bedford. Prepare to have your heart strings tugged, your sides split and your disbelief suspended.

    What more is it you want? The moon? Well, we can’t make any promises but we’ll fetch our lasoo just in case.

    It’s A Wondeful Life plays until 31 December at The Place Bedford The Christmas Eve performance will also be recorded and made available on-demand over the Christmas period (exact date yet to be confirmed). Further details can be found via the following link. More

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    Interview: Time to hear The Awesome Truth!

    Actor LJ Parkinson on Cinderella: The Awesome Truth!

    There are some fantastic festivities at the Polka Theatre in Wimbledon this Christmas, with Cinderella: The Awesome Truth! taking to the stage. It’s a twist on the traditional Cinderella story that brings it bang up to date with loads of songs, laughs and a message of kindness. We chatted with LJ Parkinson who plays Dandini to find out a bit more about the show.

    So LJ, there’s some serious partying going on at the palace just now. Do you think you and the rest of the cast can take the pace? How have the audiences been responding to Cinderella? 

    The audience response has been fantastic! It’s funny you should mention about the pace because I am currently performing the show from a wheelchair as I am injured, but the show hasn’t lost one moment of its momentum or sass… it’s opened up new dynamics between us all and though I found it very difficult at first I’ve found my way through the challenge.

    This is not a traditional version of the story, is it?  What makes it so different, and what is your role in the show?

    No, it’s not a traditional version of the story, we felt that the traditional story wasn’t inclusive and doesn’t present healthy views on beauty and self-esteem and that’s what we set out to rectify. So many families are multi-cultural, and representation and diversity is really important to us all here so it’s vital we tell these stories. We explore many themes in this play including gender identity, fat phobia, social media pressures and platonic friendships, which equip the audience with stronger tools to navigate this modern society that tells you that you have to be a certain way or you’re ugly … we took ugly and made it about being uniquely glorious and loud and proud !

    There are some cracking songs in the production, any favourites?

    So my favourite song is “Because You’re Awesome” and is the duet between Cindy and Ella. Their voices are so beautiful and to see the friends go on this challenging journey to sisterhood is a really hopeful message that when families merge together that can overcome it and nothing will be lost: in fact you can gain a sister and become an unbeatable force!

    One of the things that works really well in the show is the audience interaction. What’s the funniest or weirdest thing the kids have shouted out to you?

    So in the top of Act Two I come out on stage and have a chat with the children about using our imaginations to build the party for Prince Francis. At one point I ask what music we were listening to and one small child shouted “Chopin!” This was for certain the highlight of my entire career – I think it turned out we were listening to Chopin, eating chocolate sausage rolls and sushi decorated the entire palace. Classic!

    It’s brilliant to see a non-binary actor like yourself taking on such a traditional pantomime role and totally redefining it, whilst just being your authentic, hilarious self. Do you think this normalising approach might encourage new audiences, who will see themselves represented in what you do?

    I think it’s so important to introduce actors and characters that are from all walks of life whether it’s gender identity race or disability or non-conventional families. In the news they tend to focus on issues like bathrooms and JK Rowling. Whilst those things are important for some people, I am more focussed in carving out a path to experience the world in full colour and allowing my authentic self to thrive without prejudice and encourage others to do so too. By having a non-binary character in a kids show, we are showing people from a young age before the world has told them there’s something wrong with being different from the heteronormative, that we exist and actually we are a lot of fun and that is nothing to be ashamed of.

    Another interesting member of the cast is Sass. Have you ever worked with a squirrel before, and are you likely to do it again?

    I have never worked with a squirrel before but I have heard on the grapevine that there are a couple of agencies trying to put Sass on their books so I’m sure we’ll see Sass on the West End very soon! I hope they put in a good word for me.

    As you’re playing Dandini, the palace chef, will you be cooking Christmas lunch this year, and will there be sausage rolls?

    I absolutely will be cooking Christmas lunch this year for all the cast including Sass so I will have to put in a nut roast!! I’ll be dazzling them with my special Yorkshire puddings and the best beef dripping roast potatoes… although my special cheese soufflés and chocolate sausage rolls are also going on the menu… It’s going to be the best Xmas ever!!!

    Many thanks to LJ for taking the time to chat with us. You can enjoy Cinderella: The Awesome Truth! at the Polka Theatre until January 30. Further information and tickets at the link below. More

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    Interview: Touching flesh with Skin Hunger

    Dante Or Die’s Terry O’Donovan on Skin Hunger

    Last summer Everything Theatre was privileged to review one of the most extraordinary, impactful pieces of drama that came out of the pandemic: Dante or Die’s Skin Hunger, which we gave the full five stars.  Prompted by the incidence in Brazilian care homes of plastic ‘hug tunnels’ that enabled vulnerable people to hug their loved ones, safe from contamination by Covid 19, this performance explored the power of touch in our lives, at a time when many were deprived of it. 

    The company have now launched a film and book which discuss this amazing experience, and the responses emerging from it.  Now out from behind the plastic, they are screening the film in prisons, care homes and arts centres across the country, and also facilitating bespoke theatre workshops about the importance of touch. We spoke with Terry O’Donovan, Co‑Artistic Director of Dante or Die, to discuss the new life the show is having, and its ongoing effects.

    So Terry, you and I had a little hug last year through the plastic at the Stone Nest, and it was probably the most exhilarating dramatic moment of the year for me. I still get a bit excited when I think about it now, and how special the experience made me feel! Did you realise at the time just how profoundly important the power of touch, and deprivation of it, was?

    Oh, wow, it’s so amazing to hear that the experience stayed with you so much. The reason we made the show was exactly that. My co-creator Daphna [Attias] and our producer Sophie [Ignatieff] first met to discuss the idea outdoors, with my daughter who was just over a year old. They desperately wanted to give her a cuddle but we couldn’t take that risk. The fact that we were all missing touch was what spurred us on to make the show.

    How did the live performance feel for you, as artists?  What reactions did you get from your audiences?

    The live performance was exhilarating and exhausting, joyful and devastating. The incredible thing about it was that each audience member brought themselves to the interactions, so that meant that every performance was emotionally charged in a different way. I really didn’t know what the audience member was going to feel as I begged them for forgiveness. Some people were very angry with my character – one woman said to me “In my experience men like you don’t change”. Another woman walked away from me after three minutes saying “I don’t need to listen to this.” Then she came back and we chatted about her ex-boyfriend who was just like the character I was playing – the script went out the window. A man broke down in tears and I really, really held him. I feel incredibly fortunate to have experienced those very unique and intimate moments with people.

    You have created a fabulously evocative film about Skin Hunger with award-winning filmmaker Pinny Grylls, which focusses on several individual audience members and their responses to the event. How did you choose who to talk to? 

    We wanted people who had a specific experience of touch in their lives. We had come across Professor Francis McGlone’s work when researching, and he kindly met us on Zoom as we were developing the scripts and design. We thought it would be interesting to see how he responded to the show with his wealth of experience. Over the last few years we’ve been developing another production that looks at same-sex relationships in prisons, so the word lockdown had been on our minds in that context. We asked Morgan to share his experience of prison lockdown alongside the idea of a Covid-lockdown – so many people in prison have touch and intimacy taken away from them, and we’re all now aware of how integral it is to wellbeing. Helen, who is a care worker, came to us through her son, the actor who was originally going to perform Sonia Hughes’ monologue about her caring for her Dad who had Alzheimer’s. It felt important to represent someone who worked within a care setting; care homes were so affected by the pandemic. And of course the image of the Brazilian care homes was our original inspiration.

    Tell me a bit about touring the film: why have you chosen these particular venues? Did you recognise something connecting them at the time of the performance in the summer?

    Absolutely. We felt that the there was an opportunity to start a conversation about how lack of touch has affected us all, through screening the film at care homes and with people who’ve experienced criminal justice, because Helen and Morgan are so key to the narrative. As you can see in the film, Helen’s response to the production was very emotional. And the screenings and workshops that we’ve done in care homes have been similarly received. It’s been very moving to see people’s experiences reflected.

    You interact with such a variety of audiences on the tour, and of course through home-streaming of the film. Do they have very different responses to the work, or are there common threads wherever you go? 

    There are really different responses but the overwhelming one is recalling the strangeness of lockdown, and how that has affected us all in ways we don’t even comprehend. One of the most interesting tour locations was in Mansfield with a group of neurodiverse adults, where they spoke a lot about the complexities of touch for people with different needs. Conversations have been sparked about consent, and identity, what it means to be human. I ran a workshop in a secondary school in Salford where the 15 year olds wrote extremely tender pieces of prose about their own experiences of touch as a positive experience. It’s not something that we get to talk about very often, and yet it has such a profound effect on us.

    The project has obviously evolved into different media – a show, a book and a film, but now you’re taking it to new audiences, who are using it to create work through their own stories. Can you tell us a bit about that?

    We were due to produce the live production in November 2020. The day before we were going to build the installation, the second lockdown was announced and we had to postpone the show indefinitely. We then had some time to think about how the project could reach new people and in different ways, because only 216 people would be able to see the live production. We’d begun a conversation with filmmaker Pinny Grylls about documenting the project, so took some time to riff on how this could be developed into a film that was more about touch and audience than about the production. Similarly, George at Salamander St publishing met with us on Zoom and we talked about how the book could be an interesting reflection on creating this very particular production. So the delay spurred on this evolution!

    The workshops have resulted in participants creating their own stories, devised scenes, movement sequences inspired by touch. It’s been really wonderful to see how people have been creatively exploring their own experiences as a result of the film and workshops.

    What have you discovered by revisiting that peculiar moment of enforced isolation in the pandemic now that we are some distance from it?  What has the project manifested about the value of touch, and how society perceives it post-lockdown?

    An audience member of the film recently commented: “Even when touch became possible again I still felt the disconnect that made reconnecting beginning again even at the level of conversation so difficult. Watching the film made my inner loss tangible.” I think a lot of people have leapt back into ‘normal life’ but there is a lot of unexplored trauma that I think we’ll be unpacking for years. 

    This is an incredibly moving film that really gives insight into what effects touch and the lack of it can have. I suppose it’s important to remember that many vulnerable people are still shielding from Covid today.  How does it feel knowing that you can show them understanding and offer opportunities for alternative forms of contact and interaction through the arts, when they might otherwise remain distanced and forgotten?

    It feels very special, and exciting that we can connect with those people who can’t get out to live performance at the moment. There seems to be a drive towards not mentioning the pandemic and carrying on as before. I get that – people don’t want to think about it because it was so all-consuming and such a hard time. But theatre, film, music, art that explores the pandemic will help us all to move forward.

    Will it be possible to see the original production in full online, and what is the future for Skin Hunger on Film?

    Yes! The full production has also been edited brilliantly by Pinny Grylls and is available on our website on pay-what-you-decide. We’ve never done that before so we’re excited to see how many people watch it and get the sense of what it was like to experience it.

    The film has just been featured on international digital magazine Aeon. This week it’s being shown at Lighthouse Poole’s cinema as part of their trailers. And we’re submitting it to film festivals, so we’ll see what happens with that.

    Terry, it’s been so lovely chatting with you. We wish you well with this exciting project, and I really hope we get to hug again in the future!

    Skin Hunger on Film can be viewed for free on its own or can be seen alongside a ‘pay what you decide’ release of the full stage production Skin Hunger More

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    Preview: Don’t Forget My Face

    Lion and Unicorn Theatre

    30 November – 4 December

    I just don’t want to come back and you’re like, different. Like a different person.

    Do you know who you are?Rhea and Jack are twins. From the minutes they were born they’ve shared everything in their lives – birthday cakes, friends, clothes, flats, memories – however, as they approach their thirtieth birthday, the pressures of life and an opportunity of a lifetime separate them for the first time. Alone, they begin to question the faces they’ve always known.Critically acclaimed associate artists, Fight or Flight Productions, present Don’t Forget My Face – a brand new story about shared identity, failure of communication, the masks we hide behind, and whether we can ever truly know the people closest to us. Directed by Jess Barton, Don’t Forget My Face debuts at The Lion and Unicorn this December 2021.

    Fight or Flight Productions are Associate Artists of the Lion & Unicorn Theatre.

    WRITTEN BY: Jess Barton & Ross KernahanDIRECTED BY: Jess BartonRUNNING TIME: 70 Mins (No Interval)

    Playing at Lion and Unicorn Theatre, 30 November to 4 December. Tickets £14 via the below link.

    This preview is a paid advertisement. More

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    Interview: Raising a glass to A Pissedmas Carol

    Sh!tfaced-Showtime’s James Murfitt on their new production of A Pissedmas Carol

    Shitfaced Showtime, and sister company, Shitfaced Shakespeare, are masters of their art. They have taken what is quite a simple, and very silly, idea, and developed it into shows that are now a must-see for so many people. And that idea? Just get one of your cast drunk before the show starts and let them loose!

    We’ve reviewed their shows a number of times, and in the most, enjoyed what we’ve seen. So when the chance came to chat to producer and performer James Murfitt, it seemed the perfect time to find out more. Listen to James tell us about the original spark that created the company, why they can understand that some people just don’t enjoy the show, what the craziest thing a drunk tried to do on stage, and we also find out if the sick bucket they have ready has ever really been used!

    Some of our previous reviews for Sh!tfaced productions can be found below:

    You can see all of our podcast interviews on our Anchor page here. You can also subscribe via Spotify here, or via many other podcast services. Search for Everything Theatre wherever you subscribe to podcasts to see if we are there.

    A Pissedmas Carol, Leicester Square Theatre

    2019’s Christmas hit returns bigger and better to lift our spirits in 2021

    Combining cast members from Sh!t-faced Showtime and Sh!t-faced Shakespeare, A Pissedmas Carol is the all singing, all boozing alternative Christmas knees-up we all so desperately needed after the last year and a half of Zoom calls, Tiger King and bloody banana bread. Miserly Scrooge and his classic coterie of employees, relatives and ghosts travel through time having the night of his life – but will Scrooge be merry before the end? Or will it be the spirits that have had too many spirits? With one genuinely drunk cast member in every performance, A Pissedmas Carol is the ultimate “You’ll never guess what happened to me last night” story – despite having heard it all these last 2 years!

    So how does it work? Each performance has a cast of actors who all arrive 4 hours before the start of the show for a ‘party’ – however this particular Christmas work social is dry for all but one performer, who gets, yes, you’re starting to catch on – Sh!t-faced. The rest is a delicate tight rope between performing songs and reciting Dickens all within the parameters of our strict improvisation rules, which are stated as thus: Go with WHATEVER the drunk actor decides to do. Unless it’s illegal. But even that’s a grey area we prefer to let our lawyers wade through. Every single show is a one-off. Every single performance has a different drunk actor. Every single time they are genuinely inebriated.

    Running Time: 90 minutes | Suitable for ages 16+ (may contain nudity and strong language.

    Leicester Square Theatre6 Dec 2021 — 15 Jan 2022 (except 24-26 and 31 Dec, and 1 Jan)Mon – Sat, 7pm or 9.30pm (please see website) More

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    Interview: Belinda McGuirk invites us all to EverAfter

    Anyone who has ever been to see a Chickenshed Christmas show will know what a big affair it is. This year they are doing EverAfter, and directing it will be Belinda McGuirk. So it felt a good time to chat with Belinda about the show, her involvement with Chickenshed and how you even start directing 800 performers.

    EverAfter – A Mixed Up Fairytale!

    When Hansel and Gretel are left to fend for themselves in the Wild Woods, a series of events is set in motion, taking the two children on a journey through some of our best loved fairytales. Come and be enchanted by mischievous Princesses, who dance until their shoes are worn out; meet – at least one – wicked stepmother intent on revenge; sympathise with Hansel and Gretel’s father, who searches the forest for a sign of his beloved children; and laugh, boo and hiss at the man with no name…

    Chickenshed is thrilled to announce the return of its Christmas Show with EverAfter. Featuring their famously large and amazingly diverse cast, this mixed up fairytale will be a dazzling and unforgettable theatrical journey for adults and children alike. More

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    Preview: Our Last First

    The Union Theatre

    16 – 19 November

    Four actors walk onto the stage. Uncast. With one story to tell. But who will tell it?

    Our Last First follows the lives of A&B, as we watch them go through the firsts (and lasts) of their relationship, and meet the people along the way who alter their journey. Cast live at the start of each performance, each show is guaranteed to be unique, as relationships are.

    Written without pronouns, genders, ages or physical descriptions of any kind, the play is designed to be played by any and every actor. For far too long romantic leads in theatre have all looked the same, not reflecting the society we live in. Everyone experiences love, it is universal, so why aren’t we seeing everyone represented on stage. “Our Last First” is changing that.

    Writer Lucinda Coyle on the story behind the show

    In lockdown one I was inspired by talking to a fellow actor who was fed up of being told by casting directors they ‘just didn’t look right for the role’ and was concerned by the lack of roles in particular for those who identity as non-binary. I then began to think what if a play was written to be played by anyone and everyone. A play with characters with no gender, no pronouns, no age, no physical descriptions of any kind. Just their words and thoughts. I then began to think of what universally connects us all; love. From that A&B were born, a couple with nothing particularly extraordinary about them. The play follows A&B, as we watch them go through the firsts (and lasts) of a relationship with each other. But I wanted as many actors to play these roles, to have the chance to be the romantic lead as opposed to being stuck cast as the “fat best friend”, so I decided to add in the live casting at the start of the show. As every relationship is unique, so is every show. The four roles are cast live in front of the audience at the start of each show, igniting the relationship we the audience are about to witness, and the two actors are about to explore. 

    Reviews for Our Last First

    ★★★★ A high-quality new play with love at its centre.Everything Theatre

    It is witty, ambitious and works wellThe Reviews Hub

    it’s an original and refreshing ideaand one that it would be great to explore further.Theatre Things More

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    Features and Interviews – Everything Theatre

    Features and Interviews – Everything Theatrehttps://everything-theatre.co.uk
    Reviews, interviews and news for theatre lovers, London and beyondMon, 08 Nov 2021 18:00:36 +0000en-GB
    hourly
    1 https://wordpress.org/?v=5.7.3https://everything-theatre.co.uk/wp-content/uploads/2020/03/EverythingTheatre_FAVICON-70×70.jpgFeatures and Interviews – Everything Theatrehttps://everything-theatre.co.uk
    3232Preview: In Bad Taste, Sixteen Sixty Theatrehttps://everything-theatre.co.uk/2021/11/preview-in-bad-taste-sixteen-sixty-theatre.html
    https://everything-theatre.co.uk/2021/11/preview-in-bad-taste-sixteen-sixty-theatre.html#respondMon, 08 Nov 2021 17:53:56 +0000https://everything-theatre.co.uk/?p=28103Bread and Roses Theatre 22 – 24 Nov
    The post Preview: In Bad Taste, Sixteen Sixty Theatre appeared first on Everything Theatre.
    ]] >Bread and Roses Theatre

    22 – 24 November

    “We just killed and ate a man Jennifer. We’re all on edge.”In Bad Taste is a moral play for people whose morals are consistently tested. Performed by women who are infuriated by the current state of affairs worldwide, the play is a reflection of the general mood of a generation. The story follows a group of five best friends as their moral compasses are pushed to breaking point (and then to cannibalism) by the top 1%, homophobes, misogynists and people with skewed opinions on what it means to be a woman.

    Violet HATES her boss. And capitalism. Mostly capitalism though (at least that is what she tells her friends when roping them into creating her new utopia.) Fuelled by an onslaught of sexism, homophobia and unrealistic expectations of what it means to be a woman, the group set about chewing the fat of people who have done them wrong. It’s time to spark a cannibalismmeets-feminism revolution.

    The story is told through many different and unexpected mediums including narration, poetry, movement and rap. Improvisation also plays a key part and each performance is different from the last.

    You can read our review for the show when originally performed at The Space here.

    Sixteen Sixty Theatre

    Sixteen Sixty Theatre are a force of six women who exist to create, empower and take up space.The company take their name from the year that British women were finally allowed to tread theboards as paid actresses! The work they create is driven not only by this, but also their real lifeexperiences as predominantly queer, working class women and what they see in the media. Fromequality to morality and fake news to reality, the work they create is a reflection of society and InBad Taste is no exception.
    The post Preview: In Bad Taste, Sixteen Sixty Theatre appeared first on Everything Theatre.
    ]] >https://everything-theatre.co.uk/2021/11/preview-in-bad-taste-sixteen-sixty-theatre.html/feed0Interview: Is It Good Cop, Bad Cop? Rising Tides decidehttps://everything-theatre.co.uk/2021/11/interview-is-it-good-cop-bad-cop-rising-tides-decide.html
    https://everything-theatre.co.uk/2021/11/interview-is-it-good-cop-bad-cop-rising-tides-decide.html#respondMon, 01 Nov 2021 21:27:27 +0000https://everything-theatre.co.uk/?p=28015Gavin Dent & Neil Sheppeck on Good Cop, Bad Cop 26
    The post Interview: Is It Good Cop, Bad Cop? Rising Tides decide appeared first on Everything Theatre.
    ]] >Gavin Dent and Neil Sheppeck of Rising Tides on Good Cop Bad Cop 26 Festival

    To co-incide with the COP26 summit, Rising Tides take over The Space for the next 12 days for their Good Cop, Bad Cop 26 Festival. Featuring plays, discussions and music the festival is their response to the climate crisis.

    With so much happening, it seemed a perfect opportunity to catch up with Gavin Dent and Neil Sheppeck from Rising Tides and hear what to expect at the festival, why The Space is the ideal venue and whether they hold out much hope for the outcome of COP26.

    Good Cop, Bad Cop 26

    With the future of our species at risk, this November the COP26 summit will bring parties together to accelerate action towards the goals of the Paris Agreement and the UN Framework Convention on Climate Change. 

    This summer’s IPCC report is a code red for humanity.  The alarm bells are deafening, and the evidence is irrefutable. Extreme weather and climate disasters are increasing in frequency and intensity. That is why this year’s United Nations climate conference in Glasgow is so important. 

    How should artists respond? What does a theatrical response look like? How can we make our voices heard?  What contribution can we make? How can we influence change? 

    LETTERS1 NOVThe largest creative response to the climate and ecological emergency the world has yet seen, Letters to the Earth is the first book to chronicle how humankind is collectively processing planetary crisis.

    20402 NOVConcerned about his young daughter’s future, filmmaker Damon Gameau travels the world in search of new approaches and solutions to climate change. He meets with innovators and changemakers in many fields to draw on their expertise.Also livestreamed

    ACCIDENTAL BIRTH OF AN ANARCHIST3 NOV – 12 NOVAn anarchist – activist or terrorist?A darkly funny play by Luke Ofield. Two novice activists get jobs on a North Sea oil rig with the sole intention of staging a sit in protest. Trapped in a room full of drilling instruments and forced to negotiate, the lines of protest, activism and terrorism are debated, as the threat of military action looms closer.As the world is torn between wildfires and flooding, this play couldn’t be any more timely.Livestreamed on 4th November & 10th November

    EVIDENCE6 NOV – 9 NOVWhat happens when you introduce experts at the forefront of the sustainability debate and today’s most exciting theatre makers? Rising Tides create four exciting partnerships and commission them to create an evening of entertaining and informative theatre.Livestreamed on 8th November

    CLIMATE CHANGE WORKSHOPS6 NOV – 7 NOVEvery child matters today and tomorrow. Rising Tides deliver informative, creative, and of course, fun workshops that explore and engage participants in the subject of Climate Change.Inform. Explore. Solve.

    ISYLA AND P M K S7 NOV“Achingly gorgeous and heartfelt… A beautiful blend of voices and fine songwriting. Be absorbed.” on ISYLAAlso Livestreamed
    The post Interview: Is It Good Cop, Bad Cop? Rising Tides decide appeared first on Everything Theatre.
    ]] >https://everything-theatre.co.uk/2021/11/interview-is-it-good-cop-bad-cop-rising-tides-decide.html/feed0Competition: Win tickets for Little Boxes in Manchesterhttps://everything-theatre.co.uk/2021/10/competition-win-tickets-for-little-boxes-in-manchester.html
    https://everything-theatre.co.uk/2021/10/competition-win-tickets-for-little-boxes-in-manchester.html#respondThu, 21 Oct 2021 19:35:45 +0000https://everything-theatre.co.uk/?p=278502 tickets to Manchester’s 53Two
    The post Competition: Win tickets for Little Boxes in Manchester appeared first on Everything Theatre.
    ]] >Whilst 99% of our coverage is in London, that doesn’t mean there isn’t theatre outside of the capital. Manchester is a perfect example, we are certainly seeing more and more happening up in the North West. We even have a couple of reviewers lurking and we’re always looking for more (if you’re interested do get in touch, more info here).

    So, our latest competition is the opportunity to win a pair of tickets to see Alphamum Productions‘ Little Boxes when it plays at Manchester’s 53two in November (prize can be for either 16 or 17 November). There are four ways to enter, and we’ll count each one as a seperate entry, so you can quadruple your chances.

    Email us at competitions@everything-theatre.co.uk with “Great things come in little boxes” in the subject line.Share our pinned Facebook post and comment below the original post “Great things come in #littleboxes”.Quote tweet this Twitter post with the phrase “Great things come in #littleboxes”.Like this Instagram post and comment “Great things come in #littleboxes”.Do you spot the trend in all the ways to enter? Entries must be made by 7pm on 29 October 2021.

    Terms and conditions for the competition can be found below.

    If you aren’t successful in the competition, you can still buy tickets to see this show via the below link.

    Little Boxes

    After a successful run at VAULT Festival 2020, with sell out shows, multiple 4- and 5- star reviews and an “Offie” Short Run Commendation, Little Boxes is coming to Manchester.

    “… ticks all the right boxes” London Pub Theatres ★★★★

    Little Boxes follows Joann Condon (Little Britain, Dad’s Army the Lost Episodes), as she explores the boxes she has “found herself in” throughout her life:  The hopes and dreams of a child, the frustrations of an acting career, the tensions of being a parent, the grief in losing loved ones, the fear of being…herself.

    “Condon promises we will laugh and cry … and laugh and cry we did” Phoenix Remix

    Described as “funny, touching and at times heartbreaking,” by London Pub Theatres, Joann uses personal anecdotes to highlight assumptions and judgements made about her based-on looks, age, gender and background.  This phenomenon of classifying people is called ‘social categorization’ by psychologists, and most of us can relate to these experiences.

    “a joyful delve into one woman’s life, celebrating the successes, the heartbreak, and everything in between” The Plays the Thing

     ★★★★★ Spy in the Stalls                             ★★★★ Broadway Baby

     ★★★★     Theatre Weekly                           ★★★★ London Theatre1

    “It’s natural for people in our lives to want to force us into nice little boxes,” says Condon, “but the scary thing is, you often end up putting yourself in that same box.” 

    We want to use these performances in Manchester to launch a tour in 2022 and look forward to bringing Little Boxes to a broader audience.

    To make the performance more accessible we will be having a BSL interpreted performance on Wednesday 17th November at 7:30pm and we also have 2 tickets at £2 for each performance for unemployed or low income audience members.

    Starring: Joann CondonWritten by: Joann Condon and Leonie RachelDirected by: Daniel BrennanProduced by: Alphamum Productions and Lights Down Productions

    T&C’S

    The prize is for two tickets to a performance of Little Boxes at Manchester’s 53Two on either 16 or 17 October 2021. No alternative dates or cash alternative is available.

    Competition closes at 7pm on Friday 29 October 2021. Winner will be selected at random from all eligible entries, and will be notified no more than 3 days after the closing date. The winner has 3 days to accept the prize and provide contact details, otherwise a new winner will be chosen at random.  All additional expenses are the responsibility of the prize winner. Editor’s decision is final.
    The post Competition: Win tickets for Little Boxes in Manchester appeared first on Everything Theatre.
    ]] >https://everything-theatre.co.uk/2021/10/competition-win-tickets-for-little-boxes-in-manchester.html/feed0Interview: Ardent Theatre asks us to Rethinkhttps://everything-theatre.co.uk/2021/10/interview-ardent-theatre-asks-us-to-rethink.html
    https://everything-theatre.co.uk/2021/10/interview-ardent-theatre-asks-us-to-rethink.html#respondThu, 21 Oct 2021 10:58:44 +0000https://everything-theatre.co.uk/?p=27827Andrew Muir and Georgia Bates
    The post Interview: Ardent Theatre asks us to Rethink appeared first on Everything Theatre.
    ]] >Andrew Muir and Georgia Bates on new play Rethink and the struggles for actors outside of London

    For our latest podcast interview we caught up with Andrew Muir, writer and joint Creative Director of Ardent Theatre, and Georgia Bates, who will be appearing in their latest production, Rethink, which is on at The Union Theatre from 26 to 30 October.

    The pair talk about how the play was inspired by this 2020 government ad campaign suggesting those in the arts could retrain during lockdown for alternative careers. We also delve into the difficulties of becoming an actor when you live outside of London, and don’t have the financial backing to relocate full time to London.

    You can follow us on Spotify or Itunes (plus many other other podcast providers) for future editions of our interview series. Further information can be found on our Podcast here

    Rethink @ Union Theatre

    Graduation is a day full of celebration and joy. The cloaks, the hats, the bubbles and the dreams all laid bare for the world to see. In July 2020, that class of graduating students had little to celebrate. There were no cloaks, no hats, possibly a bubble but whatever dreams there were, they were soon cut short when the world shut down.

    Rethink is a play about the aftermath of that sunny July in 2020, when six graduates from a performing arts course on the South Coast of England, are encouraged to think again, in the wake of theatre closures and lack of opportunity. What choice do they have? According to a Government-backed advertising campaign their next job could be in cyber, they just don’t know it yet. So, there’s the choice. It’s as easy as that. Isn’t it?

    Rethink plays between 26 and 30 October. Bookings via the below link. Tickets just £10 plus £1 booking fee.

    The post Interview: Ardent Theatre asks us to Rethink appeared first on Everything Theatre.
    ]] >https://everything-theatre.co.uk/2021/10/interview-ardent-theatre-asks-us-to-rethink.html/feed0Interview: Andrew Lancel on his (not literal) Swan Songhttps://everything-theatre.co.uk/2021/10/interview-andrew-lancel-on-his-not-literal-swan-song.html
    https://everything-theatre.co.uk/2021/10/interview-andrew-lancel-on-his-not-literal-swan-song.html#respondFri, 15 Oct 2021 13:00:42 +0000https://everything-theatre.co.uk/?p=27793Andrew Lancel talks about his latest role in Swan Song
    The post Interview: Andrew Lancel on his (not literal) Swan Song appeared first on Everything Theatre.
    ]] >Actor Andrew Lancel talks about his latest role in Swan Song at Turbine Theatre.

    One of the shows that’s really piqued our interest this November is a new revival of Swan Song at the Turbine Theatre, Battersea Power Station. The star of this one-man play, Andrew Lancel, has appeared in so many TV and stage shows it would be hard to have missed him! Famously he played DI Neil Manson in The Bill and the creepy Frank Foster in Coronation Street, but he’s also highly regarded for his phenomenal portrayal of the Beatles’ manager Brian Epstein in Epstein – the Man who Made the Beatles and in Cilla; as Brian Clough in The Damned United; and more recently as Captain Von Trapp in The Sound of Music.

    We caught up with Andrew to ask him about bringing the show from sold out performances in Liverpool to one of London’s newest, most passionate theatre spaces.

    Swan Song feels like a great show to get people back going back to live theatre right now. Can you tell us a bit about it?

    It’s ideal – it’s intimate  and I think people really feel a part of it.

    Whilst it’s set in the 90’s it feels topical. We all know a Dave and will be able to relate  to him in life and our school memories. He is always left behind because he can be a bit of an idiot but he’s also very funny.

    It’s billed as a bittersweet comedy – is there more bitter or sweet, or maybe a balance of both?

    Bang in the middle. (playwright) Jonathan Harvey is the master at this. 

    Are you and your character Dave Titswell alike in any ways? Do you wear a lot of beige? Is Dave a character that you recognise in real life?

    I’ve just got some beige boot socks but that’s about it! We look alike but that’s about it too – I think ..though I admit to liking the same music and soaps as him! It’s a cliche but we all know a Dave. Whilst he winds people up and can be a total dick, we do care for him. 

    You have an incredible, award-winning creative team on this show. How has it been working with Jonathan Harvey and Noreen Kershaw, and are you an honorary Scouser now?  You know she supports Bury, right?

    Yup – and I’ve watched bury a few times. Also we shot Hillsborough there. I’ve known them both for years and Jonathan and I only had one name written down for who we wanted to direct it. Noreen. Working with them both is a joy – their talent is endless.

    What is it about the Lake District and Liverpool dramas?? From Willy Russell to Jimmy McGovern, things always happen out of town, so you seem to be in good company!

    Hadn’t thought of that. In the original it was Swanage! It’s firmly rooted in Liverpool and takes us to the lakes – but this could be anywhere and anytime. 

    You have a fabulous background in musicals, starring in productions like The Sound of Music and Cilla. Will we get to hear you sing in this show? What have you enjoyed about the part of Dave?

    He’s hard work to play but great fun. I’m on my own up there but JH surrounds us with images and characters. A lot happens in the hour.. no singing but seriously bad dance moves!

    The original 1997 play was scripted for a woman. What do you think it brings to the narrative in changing it to a gay man?

    Well it was so I could do it for one! The original was wonderful – I wish I’d  seen it but I was far too young! It’s changed massively – obviously – but the heart is still the same. Need. Oh the need. 

    Do you think the story reflects on the teaching profession differently after what they’ve been through during the Covid pandemic?

    I remember when I did cardiac arrest a doctor telling me ‘we are hard done by’ and it feels very much like that now. They are and have been scapegoated and put under enormous pressure. So not much has changed .. which makes this play topical and accessible. It’s taken off with a life of its own – teachers love it- I’m thrilled about that. 

    The Turbine seems a lovely new addition to London’s theatre scene.  Have you been to check it out yet and if so, what do you feel the venue and its audiences will be like for the show?

    I love it. It’s perfect do this and I’ve seen wonderful things there. The area is beginning to bounce and now with the Tube.. wow, what a buzz. I think and hope they will be eclectic fun and up for a laugh.. and maybe a tear.. aren’t we all!?

    Our thanks to Andrew for giving up his time to chat to us. Swan Song comes to Turbine Theatre between 29 November and 4 December. Further information and tickets via the below link.

    The show also performs pre-London dates at The Coro in Ulverston on 19 and 20 November.
    The post Interview: Andrew Lancel on his (not literal) Swan Song appeared first on Everything Theatre.
    ]] >https://everything-theatre.co.uk/2021/10/interview-andrew-lancel-on-his-not-literal-swan-song.html/feed0Interview: Maia Kirkman-Richards tells us There’s a Rang-Tan in my Bedroomhttps://everything-theatre.co.uk/2021/10/interview-maia-kirkman-richards-tells-us-theres-a-rang-tan-in-my-bedroom.html
    https://everything-theatre.co.uk/2021/10/interview-maia-kirkman-richards-tells-us-theres-a-rang-tan-in-my-bedroom.html#respondFri, 15 Oct 2021 11:14:05 +0000https://everything-theatre.co.uk/?p=27774We chat to director and puppet maker Maia Kirkman-Richards
    The post Interview: Maia Kirkman-Richards tells us There’s a Rang-Tan in my Bedroom appeared first on Everything Theatre.
    ]] >There’s a Rang-Tan in my Bedroom at The Little Angel Theatre recently got a whopping five stars from us.  It’s a puppet show for children from ages 5-11 that challenges human environmental damage by showing how it affects some of the animals impacted by businesses such as dirty palm oil production, and by plastic waste in the ocean.  Heavy stuff for our little ones to handle, perhaps?  But they all seemed to have great fun in the process and came out buzzing! We asked director and puppet maker Maia Kirkman-Richards to tell us a bit more about the show.

    So Maia, this might seem quite a challenging topic for children, but you’ve approached it very directly, simplifying rather than dumbing down. What’s been the response?

    It’s been incredibly exciting for me to work on this project, especially as it’s a show that genuinely encourages conversation from its audiences – something that I’ve really missed over the last couple of years.

    The show itself is based on two really beautiful adverts that Greenpeace created a few years ago, so to try and shy away from any of the discussion that they held just felt wrong, regardless of the age of our audience.  Having said that, ultimately our aim has always been to leave audiences feeling empowered and excited about the prospect of change and all the new opportunities that may bring – and I really feel like that excitement and eagerness for change has been largely reflected in the response to the show from the audience and reviewers.

    It felt really important that we placed our audience at the heart of this story and allowed their voices to be heard.  A beautiful result of that is that we are constantly engaging and hearing responses about the show, it’s subject matter and what we can do to make a difference.  I love hearing about the things that our young audience members passionately shout out – at this moment in time it feels like it’s the most authentic and heart-warming response that a director could hope for.

    The Rang-Tan story is probably well known to many people from the Iceland Christmas ad a few years ago, and is also a picture book by James Sellick.  How do you think puppetry works differently to other media in telling this story?

    Puppets are brilliant for allowing an audience to really invest a part of themselves within the characters and the story.  As a puppet designer, you are never looking to create 100% of the puppet, it’s really important to allow that neutral space for the audience to see and add an element of themselves in, that way they become invested and so when something happens to the puppet, the audience feel it too.  That emotional connection that an audience develops with a puppet is incredibly useful and important to our storytelling and kept every audience member as one of the show’s key protagonists.

    However, it was quite daunting when approaching this project to figure out how to transfer such an iconic series of adverts into something that would work physically on stage. The main question we needed to answer was how do we recreate so many different locations without it feeling like a slightly wasteful amount of set and props that would only get used once.  That would be pretty hypocritical of us right?! It was a joy to problem solve this with the creative team though and ultimately I’m proud of our choices.

    The puppets in the play are absolutely beautiful, and so creatively used.  Can you tell us about how you devised them?

    This was actually a really tricky one, and I definitely spent a lot of days and nights exploring different options!

    As a production we wanted to push to create a show that was more environmentally aware in its creation and this was a real challenge for me. In the process of creating these puppets, I discovered some incredible recycling centres across South London and really enjoyed having to think outside the box and wherever possible, use what was available to me.

    As for the visuals of the puppets, I wanted to create characters that although inspired from the animals in the adverts, they felt like they had their own identity and language.  It has been such a privilege to have the time to learn more about these animal’s habitats and the serious threats that they are up against, and I wanted to pay homage to that.  Each of the animal puppets in the show are covered in a bespoke fabric, made up of images of either their habitats, or the objects that threaten them.  Our Jaguar is entirely covered in ariel photos of the Amazon Rainforest burning, our turtle is covered in photos of plastic floating in the ocean and piling up on beaches, and our orangutan is covered in photos of palm fruits.  My aim with these puppets is always to ensure that you see the puppet and the animal first – the visual stories behind their fabrics is something that you have to search for as an active audience – I think that’s really exciting.

    I loved how the audience and the animals become part of an actively shared world through the staging. Was this a conscious choice, or did it just evolve in the production process?

    Yes!  I have always been a big fan of creating work that feels genuinely accessible to lots of different types of audience.  For me, that means ensuring that people have different options of how to ‘watch’ a show – giving them plenty to look at as well as listen to, interact with and be a part of.  So it was definitely a conscious choice to involve the audience in as much as we could and place them right in the heart of the story, experiencing it alongside our puppet characters as it all unfolds. 

    Our Set Designer, Kate Bunce, created a really special set for this show and I loved all our early conversations about how to create something on a small scale that somehow still felt vast and all consuming.  Kate was so responsive to the show that we were creating (things were still changing in the final days of rehearsal!) but that meant that we could constantly push ourselves towards the most exciting visual options without limitations of what it had to look like.  Being truely responsive and adapting as you go is a real gift and not something that everyone can do, so I really lucked out with my creative team in that sense.

    There are so many details in the show that signal problem items in the home, and the urgency of the situation. It’s almost like a ‘Where’s Wally?’ once you start to spot them.  Did this help in constructing multiple layers of engagement for different age groups?

    Yes absolutely, I think that a lot of the time the layers built up quite naturally as myself and the team learnt more and more throughout the rehearsal process!

    As with a lot of work for children, you end up with such a wide age range of people in your audience (from babies to grandparents and everyone in between) so I was mindful to make sure that there was something for everyone.  So the ‘signals’ that you mentioned could be spotted not only in the puppets and props, but also in the set, the projection, the lighting colours, the speech and of the course the soundtrack. 

    Another thing I loved about the show was that the children were handed an opportunity to voice their opinions and get creative with solutions.  Have you had any follow-up responses from your audiences?

    I love that about the show too – it’s such a joy to hear the ideas that the audience passionately shout out in each performance.  I had an email come through just today to say that one young audience member had shouted out “Go in a boat and collect all the plastic bags from the sea!”.  It’s so important that our audiences feel like their voices are heard and that without them, change cannot actually happen. 

    I know that The Little Angel has had some lovely feedback emails from families after the show, chatting about how the show has impacted life beyond the theatre walls.  I read one that simply said ‘My son now says he’ll eat less snacks in plastic bags!’ – I think her son is a legend.

    What’s next for Rang-Tan and her friends?

    Good question!  We’re really hopeful that this is the start of the theatre industry opening back up and thriving again so that we can continue to share this production with new audiences around the country – starting with a National tour in autumn 2022. 

    There’s A Rang-Tan in my Bedroom and Other Stories runs at Little Angel Theatre until 7 November. Further information on this and other shows can be found via the below link.

    The post Interview: Maia Kirkman-Richards tells us There’s a Rang-Tan in my Bedroom appeared first on Everything Theatre.
    ]] >https://everything-theatre.co.uk/2021/10/interview-maia-kirkman-richards-tells-us-theres-a-rang-tan-in-my-bedroom.html/feed0Interview: Who Cares? Matt Woodhead doeshttps://everything-theatre.co.uk/2021/10/interview-who-cares-matt-woodhead-does.html
    https://everything-theatre.co.uk/2021/10/interview-who-cares-matt-woodhead-does.html#respondSat, 09 Oct 2021 10:41:34 +0000https://everything-theatre.co.uk/?p=27720Matt Woodhead talks about his pay Who Cares?
    The post Interview: Who Cares? Matt Woodhead does appeared first on Everything Theatre.
    ]] >Matt Woodhead on Who Cares? The play and the campaign.

    Our latest podcast interview is with Matt Woodhead, co-Artistic Director of Lung Theatre. Matt wrote Who Cares, a play about young carers. The play led to the creation of the Who Cares Campaign which has gone on to help hundreds of children who act as a primary carer for other members of their family.

    You can read a previous interview we did with Matt here. You can also see our review of the play when it was perfromed at 2019’s Edinburgh Fringe here.

    The radio version of the play is still available via BBC Sounds here.

    You can follow us on Spotify or Itunes (plus many other other podcast providers) for future editions of our interview series. Further information can be found on our Podcast here

    Who Cares? National Tour

    ‘The Alarm Rings. I take a breath. Then it starts’

    Sitting at the back of the bus, skipping the lunch queue and skiving lessons. At school Nicole, Jade and Connor are just like everybody else. But when they get home, things are very different. 

    Nicole started caring for her mum when she was four. Every morning Nicole helps her get washed, put on clothes and eat breakfast. Jade has always cared for her brother, but she never expected to look after dad as well – now she juggles two lots of appointments, two lots of prescriptions, two lots of assessment forms. Connor cares for his mum. But he doesn’t like to talk about it. 

    ​Adapted from real-life testimonies, this bold and pertinent piece of documentary theatre examines our failing care system, the impact of austerity and what happens when a child becomes the parent.

    ​Made in partnership with The Lowry & Greater Manchester Charity, Gaddum and its Salford Carers Service. With funding by Arts Council England, Curious Minds and the Oglesby Charitable Trust.

    Full tour dates and booking can be found here
    The post Interview: Who Cares? Matt Woodhead does appeared first on Everything Theatre.
    ]] >https://everything-theatre.co.uk/2021/10/interview-who-cares-matt-woodhead-does.html/feed0Interview: Phoebe Angeni tackles anxieties head onhttps://everything-theatre.co.uk/2021/09/interview-phoebe-angeni-tackles-anxieties-head-on.html
    https://everything-theatre.co.uk/2021/09/interview-phoebe-angeni-tackles-anxieties-head-on.html#respondWed, 29 Sep 2021 14:27:56 +0000https://everything-theatre.co.uk/?p=27710Turning mental health into a positive
    The post Interview: Phoebe Angeni tackles anxieties head on appeared first on Everything Theatre.
    ]] >Mental Health and Wellbeing Awareness Day Interview (part 2)

    This interview was originally recorded as part of Runn Radio’s Mental Health and Wellbeing Awareness Day. The day consisted of interviews and talks on mental health.

    Phoebe Angeni joins us all the way from San Francisco to talk about her own journey with mental health from a very young age and how she has turned these around into positives in her writing and latest show, Itacha.

    You can find out more about Phoebe here.

    You can follow us on Spotify or Itunes (plus many other other podcast providers) for future editions of our interview series. Further information can be found on our Podcast here

    The post Interview: Phoebe Angeni tackles anxieties head on appeared first on Everything Theatre.
    ]] >https://everything-theatre.co.uk/2021/09/interview-phoebe-angeni-tackles-anxieties-head-on.html/feed0Interview: Jen Roehrig breathes life into Mental Healthhttps://everything-theatre.co.uk/2021/09/interview-jen-roehrig-breathes-life-into-mental-health.html
    https://everything-theatre.co.uk/2021/09/interview-jen-roehrig-breathes-life-into-mental-health.html#respondSat, 25 Sep 2021 14:32:29 +0000https://everything-theatre.co.uk/?p=27684Jen Roehrig on overcoming mental health
    The post Interview: Jen Roehrig breathes life into Mental Health appeared first on Everything Theatre.
    ]] >Mental Health and Wellbeing Awareness Day Interview (part 1)

    This interview was originally recorded as part of Runn Radio’s Mental Health and Wellbeing Awareness Day. The day consisted of interviews and talks on mental health.

    Jen Roehrig talks about her own experiences with mental health, which were as a result of a freak medical situation, but affected her life for years. Jen talks about how, with the right help, she overcame her conditions and ultimately returned to education in her 40s. We also hear about how she hopes to take her experiences onto the stage with her upcoming work.

    You can find out more about Jen and her production company here.

    You can also download this podcast by clicking on the forward arrow and selecting the download option.

    You can follow us on Spotify or Itunes (plus many other other podcast providers) for future editions of our interview series. Further information can be found on our Podcast here

    The post Interview: Jen Roehrig breathes life into Mental Health appeared first on Everything Theatre.
    ]] >https://everything-theatre.co.uk/2021/09/interview-jen-roehrig-breathes-life-into-mental-health.html/feed0Interview: Biting into Dracula: The Untold Storyhttps://everything-theatre.co.uk/2021/09/interview-biting-into-dracula-the-untold-story.html
    https://everything-theatre.co.uk/2021/09/interview-biting-into-dracula-the-untold-story.html#respondSat, 18 Sep 2021 15:08:14 +0000https://everything-theatre.co.uk/?p=27613Bringing a graphic novel to the stage
    The post Interview: Biting into Dracula: The Untold Story appeared first on Everything Theatre.
    ]] >Andrew Quick of Imitating The Dog on bringing a grapic novel to the stage

    Episode 4 in our podcast interview series sees us moving outside of London for the first time, to chat to Andrew Quick, Artistic Director of Imitating The Dog. The company whose stated aims are:

    we are most interested in telling stories. We create beautiful, memorable images for audiences, and the work fuses live performance with digital technology, in order to serve the story in the best possible way. The work is always fresh and often surprising. We take risks.

    The podcast features the full version of the interview. An edited version was originally broadcast on our Runn Radio show on 15 September 2021.

    You can follow us on Spotify or Itunes (plus many other other podcast providers) for future editions of our interview series. Further information can be found on our Podcast here

    Dracula: The Untold Story tours to the following venues. Further dates are possible though, so do check Imitating The Dog’s website for updates.

    Leeds Playhouse

    25 Sept – 9 Oct at 7.45pm

    (Mat: 30 Sept & 7 Oct at 2pm and 2 & 9 Oct at 2.30pm)

    Box office: 0113 213 7700   www.leedsplayhouse.org.uk

    Tickets on sale: NOW

    Liverpool Playhouse

    12-16 Oct at 7.30pm

    (Mat: 14 at 1.30pm & 16 at 2pm)

    www.everymanplayhouse.com

    Tickets on sale: NOW

    Derby Theatre

    19-23 Oct at 7.30pm

    (Evenings at 7.30pm & Wed 20th & Sat 23rd at 2.30pm)

    www.derbytheatre.co.uk

    Box Office: 01332 593939

    Tickets on sale: 6 Aug

    Dukes Lancaster

    29 & 30 Oct at 7.30pm

    (Mat: 30 at 2.30pm)

    Box office: 01524 598500 (From 21 May)    www.dukeslancaster.org

    Tickets on sale: NOW

    Watford Palace Theatre

    2-6 Nov at 7.30pm

    (Mat: 4 & 6 at 2.30pm)

    www.watfordpalacetheatre.co.uk

    Tickets on sale: NOW

    Mercury Theatre, Colchester

    9 & 10 Nov at 7.30pm

    (Mat: 10 at 2.30pm)

    Box office: 01206 573948   www.mercurytheatre.co.uk

    Tickets on sale: NOW
    The post Interview: Biting into Dracula: The Untold Story appeared first on Everything Theatre.
    ]] >https://everything-theatre.co.uk/2021/09/interview-biting-into-dracula-the-untold-story.html/feed0 More