Top level articles
This play, which tells the story of Albert Namatjira, the first indigenous Australian painter to win international acclaim, premiered in Alice Springs in late 2009 and has since toured Australia. Now, this fascinating story comes to London. At the Southbank Centre
Battersea Arts Centre's London Stories: A 1-on-1-on-1 Festival is uniquely positioned to become a most powerful form of participatory theatre. The idea is simple: begin with a sprawling building, like old municipal offices; invite in local people who feel they have life-changing experiences to tell about living their messy, complicated lives (that's pretty much all of us), and organise ushers and staff to direct the moving traffic of paying audience members from story to story around the building.
The phenomenon which is Miranda Sings at Leicester Square is the only show in the vicinity originating from being a YouTube sensation. Colleen Ballinger is a comic genius for creating the world of Miranda, the "relly tallented" star of the bite-size screen.
IronBark Theatre, a company specialising in presenting Australian theatre in the UK, produced an excellent production of Ruben Guthrie, an award-winning play by an acclaimed young Australian playwright, Brendon Cowell at the New Wimbledon Studio.
Antic Disposition’s Tempest marks the 400th anniversary of the first recorded performance of the play before James I at Whitehall Palace in 1611. While that venue now no longer exists, the Middle Temple Hall’s direct link to another first performance of a Shakespearean play, Twelfth Night, in 1602, is crucial for maintaining historic and artistic links between the 2011 production and the Elizabethan theatre.
As an unknown theatre historian who had come to London to re-think her own place in teaching, researching and creating theatre, I am excited at the prospect of seeing the 2009 production of Waiting For Godot. The £47 I spend on the tickets is the most I’ve ever spent on tickets. I read the reviews and seeing the favourable reactions, I conclude that it must be a monumental interpretation of a most challenging play. I so set off to see how four notable performers deal with the central problem which the play presents for actors of not acting, of doing nothing but wait.