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In The Stage newspaper this week: August 24

Farber with choreographer Imogen Knight in rehearsals for Knives in Hens. Photo: Marc Brenner
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The Stage newspaper comes out once a week and is brimming with industry news, advice, analysis and reviews from all over the UK. Here are some of the highlights from the August 24 issue...

The Big Interview: Yael Farber

The South African director has built an international reputation for creating searing, uncompromising and often confrontational drama. She tells Sam Marlowe why theatre isn’t all ‘sound and fury’, her shock over bad reviews and how she discovered Arthur Miller in the bath…

Zed Josef's open letter to Anthony Horowitz

Bally Gill, Steven Berkoff and Zed Josef in Dinner With Saddam. Photo: Tristram Kenton

The prolific author turned both barrels on the critics this month, saying his play Dinner With Saddam had been savaged because he was “too ubiquitous”. Actor Zed Josef, pictured above, right, begs to differ.

Martin Creed: ‘When you don’t give a shit, you’re at your best’

Martin Creed. Photo: Hugo Glendinning
Martin Creed. Photo: Hugo Glendinning

Since training at art school, Martin Creed has won a Turner prize for his piece featuring a light being turned on and off in an empty room and choreographed a ballet for Sadler’s Wells. Now he talks to Nick Clark about his latest challenge – a month-long run of his live show Words and Music at the Edinburgh International Festival.

Shon Dale-Jones: ‘I want to create opportunities, not wait to be offered them’

The artistic director of touring theatre company Hoipolloi tells Nick Clark how he turned his back on national portfolio organisation funding in order to take the company in a new creative direction.

HomePlace, Northern Ireland: How a cultural hotspot revived Seamus Heaney’s ‘Eden’

Seamus Heaney HomePlace: the building’s former identity as a police station is scarcely visible from the exterior
Seamus Heaney HomePlace: the building’s former identity as a police station is scarcely visible from the exterior

HomePlace in Bellaghy, where the lauded poet is buried, is about to celebrate its first birthday. Michael Quinn reveals how the former fortified police station has transformed the area.

Baxter Theatre Centre, South Africa: ‘The world just sees apartheid – our season aims to change that’

Chuma Sopotela in Karoo Moose – No Fathers. Photo: Oscar O’Ryan
Chuma Sopotela in Karoo Moose – No Fathers. Photo: Oscar O'Ryan

Cape Town’s dynamic Baxter Theatre Centre has brought a provocative programme of shows to the Edinburgh Fringe. Artistic director Lara Foot tells Nick Awde how the company is an ambassador for South African theatre, while tapping into universal subjects that resonate with audiences worldwide.

Getrude Vimbayi Munhamo: 'At Edinburgh you are embraced, appreciated and celebrated for your work'

Getrude Vimbayi Munhamo and Dalma Chiwereva of Zimbabwe’s Rooftop Promotions tell Nick Awde about performing a show for the first time at the Edinburgh Festival Fringe.

Edinburgh’s Roseburn studio: The workshop that sets the Lyceum apart

The Lyceum Theatre in Edinburgh is renowned for its award-winning sets. Thom Dibdin takes a tour around its Roseburn scenery workshop, where designers’ visions are transformed into practical solutions.

Farce and fatality – the birth of Loot, Joe Orton’s blackest comedy

Calvin Demba and Sam Frenchum in the current production of Loot at London’s Park Theatre. Photo: Darren Bell
Calvin Demba and Sam Frenchum in the current production of Loot at London’s Park Theatre. Photo: Darren Bell

Fifty years after his brutal murder, the playwright’s darkly comic creation is returning to the stage in its original, uncensored form for the first time. Nick Smurthwaite looks back at Loot’s production history and Orton’s often fraught relationships with his forthright agent, jealous lover and dismayed cast.

Plus more opinion, advice and interviews...

Mark Shenton Are critics crucial, or simply talking out of their arses?
Lyn Gardner Interactive shows should take care of audiences
Matt Trueman What's the point of reviewing Hiddleston's Hamlet?
Paul Clayton We owe it to actors and crew to credit then properly
The Green Room How will Brexit effect the arts?
West End Producer Any advice for an aspiring producer?
Careers Clinic Why am I not improving more quickly?
Prasanna Puwanarajah 'After the Brexit vote, I was a brown person'
Lucy Roslyn 'We Built my chimpanzee character from scratch'
The Stage Scholarship winners 'Spirit Young Performers Company

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