Category: Feature

IN CONVERSATION WITH: Tatty Hennessy

Published on by ayoungishperspective1Leave a comment

We sat down for an exclusive interview with Tatty Hennessy, writer of National Youth Theatre REP Company’s production of Dracula at the NYT Workshop Theatre. This world premiere production is written by Tatty Hennessy, writer of the 2025 UK Theatre Award-winning and Olivier Award-nominated adaptation of Animal Farm, and directed by UK Theatre Award Best Director Nominee Atri Banerjee.

This show runs from 25th February to 13th March at the NYT Workshop Theatre – Tickets here

What drew you back to Dracula now, and what felt most urgent to re-examine about the story for a new generation of audiences?

I’d actually been talking to the NYT for a while about totally different project, about technology and ethics, and maybe doing a genre, horror inflected interpretation of that idea, when Paul Roseby approached me and asked if I’d be interested in Dracula. I’m a big horror fan, and love using genre stories to probe at contemporary issues, so I was absolutely thrilled. I think the question of, well, what actually is a vampire, what does that mean to us today, how do we think about exploitation and consumption, about greed transforming us into something we don’t recognise, about how fear of the unknown changes us, all felt really timely and exciting to me. 

Writing for the NYT REP company, how did the presence of young performers shape your approach to power, desire and vulnerability in the piece?

I was very fortunate that a part of the process of making Dracula was a week long R&D process with the Rep company themselves, so we were able to throw all those ideas out onto the floor, grapple with them collectively and get a feel for not only what I thought Dracula was about, but what they wanted their Dracula to be about. It was clear really early on that they saw this as a story partly about exploitation and vulnerability, consent and exploitation. When we asked ourselves ‘What is a vampire? what are the modern vampires?’ they were really adventurous and daring in their answers. They’re a cohort of thoughtful and bold artists, so while writing it I knew I had to live up to what they’d brought and not hold back.

Your work often reframes classics through a contemporary moral lens—what did you want to strip away, and what did you want to protect, in Stoker’s myth?

I wanted to strip away the cultural baggage that we, myself included, bring to Dracula; the cinematic, gothic monster melorama of it all, to root it in the lives of the young characters in England, who felt very real and recognizable to me. I always try to remember that the classics were contemporary, innovative and daring, in their time, I want to figure out how they were speaking to their own age and how I would speak to mine. It’s helped that Dracula is so much a story about modernity and progress, about being on the cusp of enormous social and technological change, feeling excited for your future, only to have it stolen by malevolent forces from the past. That felt contemporary to me.  Familiarity with a story can sort of dull us to what’s really there, so the first step is always to greet the original story as though its something entirely new, to try to understand how a reader in the 1890s might have felt encountering this for the first time.

With Hammer Films’ gothic legacy in the background, how did you avoid nostalgia while still engaging with the genre’s rich visual and emotional language?

It’s funny, there’s this conception of Dracula, and I had this myself before rereading, that I think is more to do with its cinematic legacy than  Stoker’s novel. Going back to the book I was really struck by how fresh and timely it felt; this was a novel about young people anticipating huge technological and social progress, starting their lives with excitement and promise of a hopeful future, only to have a malevolent force from the past dash those hopes. The nostalgic, gothic castle in the mountains imagery we’re all so familiar with through osmosis is only a small part of the book. The novel is actually for its time formally really inventive, and I felt like this gave me license to be a bit irreverent and push the story to new places. although you;ll have to come and see it to know what I mean…

At the start of NYT’s 70th anniversary year, what does it mean to you to place a reinvention of such an enduring story in the hands of emerging artists?

It’s everything! Collaborating closely with the REP artists has been an integral part of my process for writing both Dracula and Animal Farm and both shows are richer, wilder and more daring than they could have been without their voices.  It allows emerging artists a big bold canvas to work on, to make work on an ambitious and challenging scale, and it gives younger artists ownership in our historical canon of literature. 

Credit: Johan Persson

IN CONVERSATION WITH: JAMES GRAHAM

Published on by ayoungishperspective1Leave a comment

The National Theatre’s smash-hit play Dear England is embarking on its first ever national tour and is coming to Liverpool Empire. Multi-award-winning stage and screen writer, James Graham, sits down to talk about the play, his inspiration, background and more. Dear England plays at the Liverpool Empire Theatre 3-7th March. Tickets are available here.

What did you feel when you met Gareth Southgate?

Well, he’s a hero, so I felt nervous.  But I was relieved that he didn’t remotely disappoint.  I felt moved by his humility, his evident decency and his normality. He gave me confidence. I felt like a bit of a fraud in the world of competitive male sport. I wasn’t a sporty person at school. PE was my least favourite subject. I wanted to do plays, but I felt safe with Gareth – he’s a bit more like me, slightly shyer and softer and not an alpha male in the traditional sense. In a very Gareth Southgate way, he was mortified that the play was happening and that a famous actor was playing him. He said he wanted to help, but he would never come and see it. 

Have other England players come to see the play? 

Former England greats such as Gary Lineker, David Seaman and Ian Wright have come along. Lee Dixon too. And members of the women’s team such as Alex Scott.  The reaction has been really positive because they think that what Gareth has done is extraordinary and it’s exciting for them to come to a theatre and see their world reflected. They also enjoyed the comedic impressions of people they’re familiar with. Gary Lineker thought Gunnar Cauthery, who played him when he caught the production in 2023, was bang on.

Dear England is now being made into a four-part TV series for BBC One. Can you tell me about that?

I’m writing it as we speak and we are going to be filming it over the summer. On stage, it’s a big panorama, quite comedic and the football is very abstract. That all plays to theatre’s strengths. On television, it’s going to be more literal and naturalistic, with more of the behind-the-scenes machinations and more of the players’ interior lives.

Were you a sporty kid or a nerd?

An absolute nerd.  I tried to get out of games all the time. I did support Nottingham Forest and Mansfield Town but didn’t follow club football like some people do. It was the sheer operatic scale of World Cups and international tournaments, the stakes of them, the fact that they only come round so often, that I loved. I had to get over my imposter syndrome with this play, and in a very Gareth Southgate way, what I’ve learned is you can’t fake it.  I knew I had to walk into a room of young actors who could explain the offside rule in two and a half seconds and admit that there are things about football I don’t know or feel innately. I feel the drama and passion of it but I don’t know the data. 

Why do you love theatre so much?

Because there’s nothing else in the modern world except arguably sport, arguably football, that demands you leave your home and go to a physical space and sit in proximity with your community and laugh and cry together. You interrogate your nation together, and the systems that run it, and what it is to be alive together and it’s that final bit of being together that makes it just electric. I felt that the first time I was ever in a play at school. The feeling of making your neighbours laugh and sharing it as an endeavour with your castmates.  The chemical reaction of it is extraordinary. It’s the most eruptive thing I experience in my life, and it is so satisfying.

Dear England, the uplifting, thought-provoking and inspiring story of Gareth Southgate’s England men’s team, is visiting Liverpool Empire. “I feel like Liverpool has become my second home”, says playwright James Graham.  “Because I adapted Alan Bleasdale’s Boys from the Blackstuff for the stage, I’ve spent so much time in the city in workshops, building that show.  Getting to spend time with a Scouse legend like Alan and with the Liverpool actors and audiences, I feel I’ve got to know the city really well and come to celebrate it.  I’ve always felt that in Liverpool, in terms of football, it’s club first and country second.  Getting to take this play there and interrogating what the England team means feels like a fascinating endeavour.” 

Credit: Craig Fuller

IN CONVERSATION WITH: Ben Hall

Published on by Ke MengLeave a comment

Oxford Playhouse brings its new production of Edward Albee’s masterpiece Who’s Afraid of Virginia Woolf? to the stage this week. Ahead of opening night, we spoke to Ben Hall who plays Nick in this searing drama. For tickets and listing, please visit here.

Nick enters the play as an observer—when did he begin to realise he was becoming complicit in the night’s games?

    In some ways, I think Nick spends quite a lot of the play as an observer, and it’s actually quite late that he really becomes involved in the psychological games of his hosts, Martha and George. He makes a very strong choice in Act 2, and I think that is the turning point where he realises that he is complicit in the problem and ultimately pays for it.

    Before then, I think he tries to beat their games, and he doesn’t really want to play. He feels like he’s better than anything they’re playing and tries to distance himself from it – until a point where he just can’t anymore. 

    How did you approach playing Nick’s ambition without reducing him to a simple villain or opportunist?

    For me, the most important thing was how to make him as three-dimensional and human as possible. To do that, I had to take it a step at a time – I couldn’t really look at him as a whole; I had to look at him by his choices. 

    And so, I’m not entirely sure what I’ve come up with, but I hope the audience will be able to decide whether he’s absolutely awful or somewhat human… My hope is that he’s seen as a three-dimensional person who makes very, very bad decisions and pays for them. 

    How do the power dynamics that Nick navigates shift throughout the play?

    In terms of the power dynamics, it’s not that he’s lost for most of the play, but he is trying really hard to figure out what the hell is going on and not quite being able to manage it. Perhaps because his brain doesn’t quite work the same as Martha and George’s do. 

    Martha and George tend to use metaphor, simile, imagery, and this beautiful language. Nick is a very precise and specific person; he doesn’t really exist in their world. I think he navigates that throughout the whole play, and he’s constantly floored by them. His whole thing is that he’s incessantly trying to pretend it doesn’t affect him, and to try and be better than them, and to take his power back, which Martha and George just do not let him have. 

    How does performing opposite such psychologically exposed characters change the way you pace and hold back a performance?

    For me, it’s sort of a gut instinct. You sense the rhythm and the pace of the play, and marry what you, as the actor and the character needs, and where they need to get to. You then have to match that with the energy of the play and the rhythmic nature of the language. Ultimately, you just have to trust that it’s correct, really. 

    Nick presents control and confidence on the surface—what fractures underneath were most important for you to reveal?

    I think there were two, really. There’s Nick’s personal mask that fractures, and then there’s the public mask of the ideal marriage that fractures. 


    So, in terms of Nick personally – I think this veneer of arrogance and being sure of himself is a mask. Slowly throughout the play, he becomes unsettled enough that he starts revealing that actually he doesn’t know everything, and he’s quick to anger and frustration. 

    That then leads into the public mask of his marriage and this idea of white picket fence America, and cracks start to show along with that. Through that, I’ve tried to make him as human as possible, even though he makes two terrible mistakes: one which is intellectual, where he believes that George is someone that he’s not and wouldn’t be capable of being, and then secondly, physically, he makes a choice that betrays his marriage. 

    Cracks are definitely revealed in terms of him as a human being and as the mask of the perfect American gentleman. 

    Who’s Afraid of Virginia Woolf? opens at Oxford Playhouse this Friday and will run until Saturday 7 March. For tickets, visit oxfordplayhouse.com

    IN CONVERSATION WITH: Michael David Glover

    Published on by Tabitha JamesLeave a comment

    We sat down for an exclusive interview with Michael David Glover, co-creator and writer of new musical Sea Witch. This new musical reimagines the origins of one of the sea’s most feared villains – a prequel inspired by The Little Mermaid, it follows Evie, a witch surviving in a world where magic is outlawed.

    This show runs for one night only on 1st March at Theatre Royal Drury Lane – Tickets here

    Sea Witch reframes a classic villain as a protagonist — what excites you about asking audiences to question who gets labelled “evil” and why?

    I’ve always been fascinated with what happens before the moment in a story. Whether that’s a moment in history, in pop culture, or in fiction… I’m always reading books and dying to write the story before! 

    That’s what excites me about Sea Witch. In the original Hans Christian Andersen tale, the Sea Witch barely gets the space to exist… she’s a plot device, not a person. Sarah Henning cracked that open and asked the far more interesting question: what if the villain label isn’t truth… what if it’s branding? What if it’s what happens when a woman doesn’t behave the way the world wants her to, or when her power can’t be controlled?

    This musical lets us watch the narrative being built in real time. How fear, lies, and self-preservation can turn someone into a warning story. And I love putting an audience in that position where they have to sit there and realise maybe “evil” isn’t a fixed identity. Maybe it’s the story we tell when we don’t want to admit what we took from someone to make them that way.

    When adapting Sarah Henning’s novel for the stage, what felt essential to preserve, and where did musical theatre allow you to go further emotionally or thematically?

    What felt essential to preserve was the emotional history baked into the world and the characters. Henning builds a timeline shaped by fear, drawing on real witch-hunting trials and imagining the long shadow they cast over generations. Evie lives in a world where magic has been outlawed and even the smallest slip could mean death. That tension, existing while hiding, felt non-negotiable. It’s what gives the story its pulse.

    What struck me most when reading the novel was that everyone arrives carrying baggage. Nothing starts clean. Relationships are already fractured, loyalties already tested, and the past is constantly pressing in on the present. Preserving those deep-rooted connections became the emotional spine of the musical. While the plot had to be streamlined for the stage, the weight of those histories, and the damage they cause, was something I was determined not to lose.

    Musical theatre then allowed us to go further. Songs give voice to what characters can’t safely say out loud. They let contradiction, desire, fear, and rage exist simultaneously. Writing Sea Witch as a musical meant carving the story through both scene and song, using music to expose inner worlds, and scenes to deal with the fallout. That collaboration, walking the story together with the composer and director, is where the adaptation really unlocked something new. The result isn’t just a retelling, it’s an emotional expansion of the story.

    Despite significant streamlining… early drafts were so plot dense, there could have been Sea Witch told in two parts, a spin-off tv series, and a podcast… the musical allowed moments where characters such as Queen Charlotte and Tante Hansa (played by the delightful Mazz Murray and iconic Michelle Visage) to have further development. This is where the medium of musical allows the audience into their thoughts and feelings more deeply. 

    This story centres on identity, sacrifice, and outlawed magic — how consciously were you drawing parallels with contemporary ideas of otherness and power?

    Absolutely aware! That’s one of the reasons I’m drawn to fantasy. It lets you talk about power, fear, and control without pointing a finger. Everything can be heightened, but it still lands emotionally. Sea Witch is written to be deliberately universal, because the feeling of being labelled “other” isn’t owned by one group, it’s something a lot of people recognise in many different ways.

    For me, outlawed magic becomes a metaphor for any part of yourself you’re told to hide in order to survive. Evie lives in a world where denying who she is feels safer than existing openly, and that tension drives every choice she makes. Certain people are expected to give up parts of themselves so the world can stay comfortable.

    What excites me is watching the power shift. The moment Evie stops shrinking herself, the rules change. Sea Witch isn’t about becoming someone new, it’s about reclaiming what was always there, and questioning who benefits when power decides which identities are acceptable and which are dangerous.

    A large part of the ethos of Evie has been the heart of this show. It’s been an uphill battle to bring this project to where it is today. The heavy lifting of rejection, disbelief in the work, and the judgement of trying to step into the spotlight of creating your own work.

    As a writer creating a brand-new musical at this scale, how did you balance mythic storytelling with making the characters feel urgently modern and human?

    It all began with knowing exactly who the characters are, what they want, and what they’re willing to sacrifice to get it. The mythology gives the story scale, but the humanity comes from very simple, recognisable questions: how far would you go to protect yourself, and what would you become if the world kept pushing you there?

    We really interrogate what “villain” even means. Every character in Sea Witch plays a role in shaping the path that leads to the Sea Witch’s creation, and none of them are exempt from that responsibility. I wanted the audience to recognise themselves in those moments… not in a comfortable way, but in a way that makes you pause and think about your own thresholds.

    Writing with the audience in mind was crucial. I was constantly asking: what do they expect here, and how can I both honour that and subvert it? Myth gives you permission to go big, but the emotional truth must feel sincere. My hope is that people leave the theatre not just entertained, but quietly unsettled, questioning what choices they might have made if they’d been standing in the same place as these characters.

    The show promises a bold, genre-pushing sound and visual language — how did that ambition shape the way you approached the book and dramatic structure?

    It allowed me the freedom to not think, “how could this fit into a traditional proscenium theatre?” I’ve been lucky to work in Las Vegas where spectacle rules. It taught me that size and scale should not be feared but brought into more narrative lead theatre where audiences expect more from the stage. Working with our director Kristopher Russell, our composer Segun Fawole and choreographer Dean Lee, it was important to bring the worlds of spectacle theatre, music and live concerts into the traditional theatre space. We had many conversations of showstopping live concerts and what builds excitement for an audience. Sea Witch is a product of my theatre upbringing, my love for music, and the electricity that concerts provide to audiences.

    You’ve described Sea Witch as “unapologetic” — what risks were you most determined not to dilute in order to make this musical truly its own?

    There’s a line Evie says “This is who you made me.” That moment is the spine of the show for me. It’s the point where she stops trying to be palatable, stops explaining herself, and fully owns who she is. Someone they fear and hate but she’s a product of their judgement and resentment. There’s no apology in that moment, no reaching for redemption or permission. It’s her no-turning-back point.

    The biggest risk was who was the character we wanted to leave the audience with at the end of the show. We went back and forth asking whether we should deliver the audience with the rambunctious character we’ve come to know the Sea Witch as or give this woman depth and reason. The former felt pantomime or the easy way out. The heart of the story is that long before the Sea Witch, there was a girl. And we wanted to have this deeply layered character that people could connect to. Allowing the audience a moment to see a character in the iconic scene with the little mermaid, but now with perspective. We see why she helps this mermaid, for everyone deserves a chance at love, but why she asks for her voice. For history shows her the cost of the lies we tell.

    IN CONVERSATION WITH: Shelley-Davina Burton

    Published on by ayoungishperspective1Leave a comment

    We sat down for an exclusive interview with Shelley-Davina Burton, the creator and lead vocalist behind Diva of the Decades. Diva of the Decades, is a high-energy and captivating live music and dance show celebrating the iconic Divas of music history, past and present.

    A show not to be missed, audiences will embark on a sensational journey through the ages, celebrating the powerhouse voices of legends like Tina Turner, Aretha Franklin, and Whitney Houston, Celine Dion, Cher, and Diana Ross just to mention a few…

    For further information, visit www.divaofthedecades.com.

    Diva of the Decades celebrates some of the most iconic women in music history. What does the word “Diva” mean to you personally, and how do you embody that spirit on stage?

    Despite popular belief, I don’t think a diva is an egomaniac who is impossible to please (‘oh she is such a diva!!’) I mean of course it can be that, but on stage we don’t embody artists who are temperamental and difficult! We just display confidence, sass and talent, which are the most admirable qualities of the biggest female singers in the music industry that we are paying homage to. So that’s what a diva means to me – a woman who displays these things. The word diva actually originated from music, as a diva was a celebrated female opera singer… so a diva is a celebrated singer/performer who is brilliant at what she does!

    You perform songs by legends like Tina Turner, Aretha Franklin, Whitney Houston, Dolly Parton and Celine Dion. Is there one artist whose music feels particularly close to your heart — and why?

    For me my favourite diva will always be Whitney Houston. I was obsessed with her as a child, and she just instantly takes me back to playing records in my room singing along to her songs and thinking I want to be like her! Aretha Franklin is my second favourite – wow what a talent! It’s a difficult choice as there are so many great divas in the show, and everyone has their favourite which is fabulous!

    The show promises powerhouse vocals, soulful harmonies and high-energy choreography. How do you prepare physically and vocally to deliver that level of intensity night after night on tour?

    Yes the show is incredibly energetic! We have regular rehearsals, and I have a dodgy knee so all the dancing doesnt help, haha! So I do a lot of exercise to strengthen my knee – Tina Turner’s Proud Mary kills me, haha! Vocally we train every day with my favourite instrument Dr Nelson Steamer – an absolute lifesaver, as it keeps the voice where it needs to be. It’s so boring really doing all this to look after your voice and body, but its a hard sing this show it’s full out, so I need to! And although alcohol is a no no for voice preservation, I always have a cheeky wine after the show.. I need it!

    Audiences are encouraged to sing along and “embrace their inner Diva.” What is your favourite moment in the show when you feel the crowd truly lets go?

    To be honest we usually have the audience’s attention and vocals from the second song in – which is a joy to see! However the Tina Turner section is where they go wild, and really dance around embracing their inner Tina Turner!

    This show takes audiences on a journey through the decades. How do you balance honouring these legendary artists while still bringing your own personality and interpretation to the performance?

    It’s a difficult balance as we are not trying to be them, and be exactly the same as them in every way like a tribute artist, so I guess that gives us more flexibility. We also add our flair and sass to each diva, and there’s lots of comedy in the show – so it’s a surprise, you have to come and see the show to find out! I love my team and they do an amazing job….

    With the show touring across the UK throughout 2026, what excites you most about taking Diva of the Decades to different audiences and venues?

    I love the buzz of theatres and meeting new divas all over the UK is thrilling to me. However the most amazing part of the show for me is the time I divulge a little secret – close to the end of the show. Something that the audience did not know and it’s the real reason for the show.

    So the show was birthed because of the biggest diva of my life….. my Mum, who unfortunately died of terminal cancer a few years ago. Before she died she said to me ‘Shell, I have seen you in so many shows, the West End, cruises etc, why don’t you just do your own show….?’ So from that conversation and homage to my amazing beautiful mum, I started Diva of the Decades…. and that’s when the show was born. It’s a celebration of the biggest divas in history, but also a celebration of the biggest diva of my life – my mum. My heart breaks at that moment, as she would have loved to see this show, as the divas and songs chosen are some of her absolute favourites.

    You can’t imagine how much it means to me when I see bums on seats and people coming to see the show, singing their heads off and dancing like it’s the last night of their life! And I thank the audience at every show as it’s PERSONAL to me. It’s not only a fun show, but there is a reason behind it, so in that poignant moment there is a lot of emotion from the audience – tears, applause etc, and that for me is the ultimate best moment in the show, as my mumbecomes part of the show.

    Then we go on to celebrate with another banger, so it’s an emotional journey, as well as a musical journey. It’s been such a journey for me, very hard at times, as I have never run a show before, but my mum is my inspiration every day, and I love spreading love and joy and diva power all over the UK – come and see the show!

    IN CONVERSATION WITH: Rhianna Dhillon

    Published on by ayoungishperspective1Leave a comment

    We sat down for an exclusive interview with Rhianna Dhillon who presents a new monthly series for BFI Player celebrating female friendship and chosen family through the Galentine’s Day collection, featuring films like Frances Ha and Daisies. She will also curate a BFI Flare collection on March 9th, honouring 40 years of the London LGBTQIA+ Film Festival with highlights including Weekend, Beach Rats, and Young Soul Rebels.

    View the Galentine’s Day collection here

    What drew you to frame your first BFI Player collections around female friendship and queer cinema, and what conversations were you hoping to spark with those themes?

    I try to theme my curations around something relevant that is happening each month, so for January, I picked the idea of “Fresh Starts”, as we’re all thinking about resolutions and a new year. For February, I loved the idea of doing something a bit “anti-valentine” and Galentine’s Day (February 13th) seemed the perfect opportunity to celebrate films about female friendships – I always enjoy seeing parallels between me and my friends and characters on screen, whether it’s bickering, getting ready for a night out or just generally being a bit over-familiar – and I hope that audiences also love seeing themselves reflected in this way! The BFI Flare Film Festival takes place in March, so there didn’t seem a better moment to talk about some of my all time favourite LGBTQIA+ films from BFI Player.

    When curating films about female friendship for Galentine’s Day, what qualities or emotional truths were you looking for that you feel are often overlooked on screen?

      I think I was especially mining films for their portrayals of how weird and unhinged women can be when they’re together – the safe space where they can be completely off the wall, share their darkest truths and challenge each other. With Frances Ha, I talk about how it uses almost romantic tropes to show how deep the bonds of female friendships can run. In Julie and Celeste Go Boating, I love the obsessive nature of the characters – like them, I often find myself drawn to gregarious, outgoing women and it really taps into that desire for excitement in your friendships as much as in your love life. 

      How do you approach balancing well-known classics with underrated gems when building a collection meant to represent the breadth of queer cinema?

        I don’t deliberately think too much about that balance, I just look for threads which work for the topics I’ve chosen – I think the spectrum of the films on offer speaks more to the versatility of BFI Player – because they have a bit of everything. There are lots of titles that audiences may know the name of but have never actually watched, so hopefully, by highlighting those films alongside more well known ones, audiences will have fun exploring something new. It’s also a great chance to look deeper at the back catalogue of a director or actor you love. If you’re a big fan of Harris Dickinson, check out Beach Rats! If you loved All of Us Strangers, make sure to watch Andrew Haigh’s Weekend!

        In your view, how has the representation of chosen family in film evolved over the past few decades, particularly within LGBTQIA+ storytelling?

          I love the films that are about the safe spaces that queer communities exist within – maybe that’s become more and more prevalent in recent years – The term “chosen family” is only about 35 years old and LGBTQIA stories have been told on screen for a lot longer, but I think the difference now is that queer stories are starting to have the joyful endings that films about straight love often have. Perhaps in the past, there was more of an emphasis on trauma and shame but it definitely feels like there’s a shift as audiences’ understanding and acceptance has evolved – filmmaking is of course part of this understanding, which is why festivals like BFI Flare are so important in showcasing different stories. 

          As a critic stepping into a curatorial role, how does selecting films for an audience differ from writing about them after the fact?

            These curations and the video essays that go alongside them have been so much fun because it’s a completely different slant on film criticism – instead of a written or verbal review, the films themselves can do so much off the talking for me in the video essay, so I can show audiences exactly what I mean, or break down a scene within a film to demonstrate what it is that I love so much.

            As most of these films aren’t brand new releases, I’m also getting the benefit of understanding a film’s impact on the social and cultural landscape so it’s not just about whether or not a film is worth seeing which is essentially what I’m doing when I review – it’s understanding how the theme has evolved since its release, and asking how it fits in with other films in the same genre that either came before it, or since. 

            With BFI Flare celebrating 40 years, what do you think its legacy tells us about the cultural power of film festivals in shaping visibility and inclusion?

              Film festivals like BFI Flare are so vital for amplifying voices who may struggle to tell their stories elsewhere. In a world where filmmakers can still be arrested for films about minorities, queer filmmaking can feel like a political act but BFI Flare allows for the full spectrum of human experience on the big screen – love, heartbreak, grief and joy. It truly is a celebration and it’s so important for festivals like this to exist so that queer stories have the space to breathe. I also love that BFI Flare has always felt like such an inclusive, exciting, vibrant festival, where it feels like you can discover movies that will stay with you for the rest of your life.  

              IN CONVERSATION WITH: Amy Dunn

              Published on by ayoungishperspective1Leave a comment

              We sat down for an exclusive interview with Amy Dunn who plays Evi Travers in War of the Worlds.

              Using miniature environments, model worlds, camera tricks and projection,ning the award win imitating the dog mix the live and the recorded, the animate and the inanimate to create a thrilling, audacious and timely retelling of H. G. Wells’s classic novel.

              War of the Worlds will be at The Lowry from 25-28 Feb and then tour till 2 May. For all tour dates and tickets visit https://www.imitatingthedog.co.uk/project/war-of-the-worlds/

              How did playing Evi Travers challenge or change your own understanding of survival when order breaks down?

              Before playing Evi, I’d always imagined I’d be good in a crisis. But seeing how pragmatically she responds made me realise I’m not sure I’d be that practical…. 

              What I love even more about Evie is that, in a post-apocalyptic world, she holds onto her kindness. While others slip into pure survival mode, she remains willing to help. 

              How did the production’s use of miniature worlds and live/recorded elements affect the way you built Evi’s emotional reality?

              Working with live cameras made me want to start by focusing on keeping everything grounded and truthful. Cameras can catch the smallest shift in thought, so I wanted to start by building a clear inner life for Evie.

              At the same time, we’re still in a theatre, sharing the space with an audience, so the challenge has been balancing something intimate and filmic with something that still feels alive in the room and watchable on stage. It’s a balance I’m really enjoying — and one I know I’ll keep discovering more about as the run continues.

              In a world driven by fear and moral compromise, what inner logic guided Evi’s choices?

              When we first meet Evie, she’s completely frozen by fear, so her choices have been about keeping herself safe. As she moves further from home and meets people along the way we see her compassion and sense of what’s right guide her decisions, even when it would be easier to just look after herself. Not only that but she challenges others when she feels they are making the wrong choice.

              Was there a moment in the process where the question of how far you’d go to protect others felt uncomfortably real?

              Without wanting to give too much away, this wasn’t something we explored during the rehearsal process. Instead, I think the question that stuck with me was when do we use the idea of an external or existential threat to justify beliefs and behaviour we otherwise might not be proud of? 

              How does placing War of the Worlds in a contemporary British context alter our connection to Evi’s story?

              Setting our production in Britain in 1968 highlights the expectations and stereotypes around women at the time and I think that makes Evie’s bravery and directness feel even more striking.

               What freedoms or constraints did imitating the dog’s blend of the animate and inanimate bring to your performance?

              The great thing about working with imitating the dog is the blending of different mediums – it’s been a really exciting challenge as an actor. It’s not always been easy, there’s a steep learning curve with the cameras and multitasking as a performer, but it’s taught me to be more playful and less precious as an actor. When you’re balancing a camera on your hip to frame a shot, whilst stepping into another shot and playing the scene you quickly learn you just have to jump in, trust yourself and your cast mates, and enjoy the chaos!

              IN CONVERSATION WITH: Michael Bontatibus

              Published on by ayoungishperspective1Leave a comment

              We sat down for a quick chat with Michael Bontatibus about his latest project. Witness brings its 8-hour Oresteia adaptation, Ritual, to London, featuring an actor performing the entire duration in an immersive space where audiences are free to watch and explore. 

              Ritual is such an ambitious piece – what first drew you to this project personally?

              The Oresteia is epic and expansive and involves so many different characters and stories from other Greek tragedies in addition to its own. But it’s also a domestic drama that occurs in one location. So it seemed a natural fit for a site-specific piece, and I’d been turning it over as an idea for a bit. Then in 2021 we got a small post-pandemic arts recovery grant in New York, which afforded us the ability to hire a small storefront gallery, but nothing larger. Lacking the ability to capture that epic, expansive nature of The Oresteia across a very big physical space, we decided to bank in the other direction and use an intimate space over a very long period of time. And that unlocked a completely different type of play.

              How does it feel bringing this work to London after its New York run?

              It’s the first time we’ve had a second run of a show in a new location, and restaging a site-specific piece – with a new site to be specific to – has led to a lot of discoveries. We’re looking at each moment through a new physical and cultural lens, and figuring out what stays the same, what changes by degree, and what needs reimagining from the ground up. It’s been a fun challenge.

              This isn’t a traditional sit-down performance – audiences can roam and stay as long as they wish. What excites you most about that freedom?

              It’s always fascinating to see how different people approach the play. Some people treat it like an art installation: they dip in for a few minutes, have a look around and get on with their day. Others are completists and like to see as much of it as they can. Some people like to rummage through the set, some people stay watching the performance. And each of these is a valid way to experience the show. I hope people find that freedom exciting and engaging – and as a creator, it’s quite a lot of fun to watch how different minds focus on different aspects.

              How did you balance honouring the original Greek tragedy while creating something entirely new?

              Each element of the show is a direct textual pull – if not from The Oresteia, then from another related Greek myth or tragedy. So despite the fact that this is a somewhat modern adaptation, and one that demanded some original invention over the eight-hour runtime, it’s all nonetheless rooted in something authentic and true to the source.

              What has been the most challenging part of staging something on this scale?

              Making every moment feel intentional and necessary – you can’t just be throwing in random filler to pad out time. On the flip side, trying to fill every minute with something very active, like you’d see in a conventional dialogue drama, wouldn’t work – beyond being unsustainable for the performer, the whole show would end up overloaded and incoherent. So to strike that balance, it’s a matter of leaning into the more elongated, durational action that the runtime demands, while still making sure that action is motivated by story and character.

              And what has been joyful whilst taking on Ritual?

              This is the first public production we’ve been able to put up in the UK, so while we’ve brought over the original core team from New York, we’re getting to know a whole new stable of talented crew and creatives here in London. This country has such a rich, unique history of site-specific theatre and it’s a pleasure to feel like a part of that continuum – if only for a weekend.

              FEATURE: London Theatre Week 2026 – Big Shows, Small Prices, and the Perfect Excuse for a Night Out

              Published on by ayoungishperspective1Leave a comment

              London’s stages are about to get busier. London Theatre Week returns from 16 February to 8 March, and this year it’s bigger than ever, with over 80% of the West End taking part. For casual theatre-goers and seasoned professionals alike, it’s one of the best opportunities of the year to experience world-class productions without the usual price tag.

              Entry tickets start at just £15, £25, or £35. Whether you’ve been waiting to finally see a long-running favourite or want to explore something new, the range of participating shows is impressively broad.

              Confirmed productions already include crowd-pleasers and critically acclaimed hits such as The Lion King, Wicked, Hamilton, Matilda The Musical, MJ The Musical, Oliver!, Harry Potter and the Cursed Child, My Neighbour Totoro, Hercules, and performances at the National Theatre. In short: musicals, drama, spectacle, nostalgia – it’s all here.

              With so many West End shows included, London Theatre Week becomes less about choosing whether to go and more about choosing what to see first. It’s also an ideal moment for industry insiders to revisit landmark productions or scout emerging favourites without stretching budgets.

              Tickets and full listings are available via the official campaign page:
              https://www.londonboxoffice.co.uk/london-theatre-week

              This post was brought to you by London Box Office.

              IN CONVERSATION WITH: Conrad Murray

              Published on by ayoungishperspective1Leave a comment

              Pied Piper is a hip-hop family musical told by a cast of seven professional beatboxers and musicians alongside a local ensemble from each area. Written and composed by hip-hop theatre practitioner and Artistic Director Conrad Murray. We sat down with Conrad to discuss his upcoming performance.

              Pied Piper reimagines a medieval fable through hip-hop, beatboxing, and live-looping. What was it about this particular story that felt right for a vocal-led, contemporary retelling?

              I felt that it was a cool story that was about the power of music. The Piper used his pipes to lead away the rats , and then got revenge using music. What’s another meaning of pipes? The voice! So it seemed like the perfect fit!

              You’ve spoken about wanting to showcase both the expressive power of the human voice and the talent of young people from working-class backgrounds. How do those two aims meet inside this production?

              The cast are from working class backgrounds. The fact that this show can be transformative for the performers is very important to me. That is one of the aims of my work- to create incredible shows that entertain the audience whilst changing lives.  Being that working class people make up only 7% of the industry , it is pivotal that we are also the best at our craft and show what are capable of. 

              The show brings local young performers on stage alongside professional beatboxers in every tour location. What does that exchange between community and professional artists add to the meaning of the piece?

              The show is about the importance of art and music- and we do just that with the show. Getting to share the stage along with kids whom it may be their first time performing onstage is sick! Creating such cool memories. We could be inspiring the next huge beatboxer or performer- or just giving someone some confidence and fun. It’s all meaningful. We are about what we talk about. There are a lot of fakers out there, we aren’t one of them! 

              There’s a strong emphasis in Pied Piper on art as a necessity rather than a luxury—especially for young people. In the current cultural and educational climate, why does that feel urgent to assert on stage?

              The government has taken drama and music out of schools. This has affected the culture and the importance of art. Art is something we do. It is shared experiences. It is NOT content. We aren’t influencers. But the art and the experiences we provide can be influential. Kids need to realise that the little fun things we make up and do , that we share with others is art. 

              You’ve said you want audiences to leave feeling hopeful. After all the noise, rhythm, and energy of the show, what kind of hope are you most interested in leaving behind?

              The hope that we can all make a difference and make a change. Even for a moment. Even making someone else smile. That is important. We only have now. Live performance is ephemeral- it disappears. Built maybe all sound lasts forever. Pinging about until you make that hi hat ‘Tee’ sound. 

              We get the audience to beatbox with us, and they see kids from their communities on stage, alongside award winning performers. We were the kids from the council estates and tough backgrounds who have taken this to Australia, to the BBC, The Globe, been the highest reviewed show at the Edinburgh festival and now on tour to prestigious venues and into communities. Anything is possible.

              Pied Piper plays at Derby Theatre 21-22nd February before continuing its tour across the UK. Tickets are available here.