Category: Updates

IN CONVERSATION WITH: Rio Barker

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We sat down with Rio Barker to chat about English National Ballet’s new production of My First Ballet: Cinderella. Running from 1 – 12 of April at Sadler’s Wells East, tickets are available here.

As a performer, how do you approach telling the story in a way that captivates such young viewers who may be seeing ballet for the very first time? 

    Personally, as a performer I try to make everything as clear and honest as possible. With younger audiences, I think it’s really important to fully commit to the character and exaggerate certain moments that come with it, so the story is easy to follow. I try to focus a lot on the intention behind every movement, making sure it’s not just steps but something they can understand and connect to. It’s about being playful, present, and really believing in the world you’re creating on stage, or you risk the audience not fully believing it either.

    You trained at The Hammond School and have already performed a wide range of classical and contemporary works. How has that training prepared you for performing in a production aimed specifically at young audiences? 

      My training and experience thus far has given me a strong technical base but has also encouraged a lot of versatility and performance quality. I believe this is important for this kind of production where the choreography calls for clarity and dynamics but also nurtures and encourages you to show personality, character and a unique perspective. Being exposed to both classical and contemporary work helped me become adaptable and more aware of how to use my body to communicate different styles and emotions. That’s especially useful when performing for younger audiences, where clarity and expression are just as important as technique.

      You have performed choreography from artists such as Arielle Smith, Andrew McNicol, David Lichine and Marius Petipa. How do those different choreographic influences shape the way you approach your role in My First Ballet: Cinderella? 

        Working with such a range of choreographers has truly been such a privilege and gift, as it has not only taught me how to adapt quickly and bring different qualities to movement, but it has given me experience on how to best bring to life and handle different characters and their stories. For example, Petipa’s work requires precision and clarity, while contemporary choreographers encourage more freedom and individuality. In My First Ballet: Cinderella, I try to combine those influences – keeping the technique clean while also allowing space for personality and storytelling. In this production, I’m extremely grateful to be performing multiple roles, including ‘The Prince’ and ‘Autumn Fox’, which require very different qualities and internal narratives. The ‘Autumn Fox’ is cunning, sharp, and highly expressive in his movement, while ‘The Prince’ is more grounded, kind, and determined. Both roles are challenging in their own ways, but they allow me to draw on the experience and exposure I’ve gained from my previous training and performances.

        Ballet storytelling relies heavily on movement rather than words. What do you think are the most important tools a dancer has when communicating emotion and narrative to a very young audience? 

        I think clarity and connection are the most important tools. For a young audience, everything needs to feel very clear, so I focus on making my intentions obvious through my movement, facial expressions, and use of the upper body. Connecting closely to the music also really helps, as it guides the emotion and energy of the story. I try to make every detail count, so even small gestures help tell the story and keep the audience engaged. 

        Productions like My First Ballet often serve as a child’s first introduction to dance. What do you hope young audience members take away from seeing the show, and perhaps even from watching you perform on stage?

          I hope they leave feeling inspired and excited, having understood the story, and connected with the characters. If it’s their first experience of ballet, I’d love for it to feel magical but also accessible, so they feel it’s something they can enjoy and maybe even try themselves. If even a few children leave wanting to dance or return to the theatre, that would be really special. I also hope they take away a sense of kindness, courage, and maybe a deeper appreciation for the magic of nature.

          IN CONVERSATION WITH: Laura K Bailey

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          Laura K Bailey was cast as J.K. Rowling in a play that drew widespread attention at the Edinburgh Festival in 2024. Her new show revisits that experience, exploring the complexities of being a cis woman navigating a world where identity, voice, and visibility are under scrutiny — and where remaining neutral is not always a neutral act.

          Rowling In It is rooted in real events, while also working as backstage satire. How did you approach blending humour with the more personal or tender aspects of the story?

            Humor is a powerful storytelling tool. The best stand-up comedians use it to expose truths people would rather avoid. There’s an old adage that for something to be funny, it has to be true. For better or worse, I’ve realized fairly late in life that I use humor to deflect pain or uncomfortable truths—it’s a coping mechanism. If you can laugh at something, it can’t quite hurt you in the same way. At the same time, it feels like we’ve lost some of our collective sense of humor recently, perhaps understandably given everything happening in the world. With this piece, I wanted to use humor as a way of gently opening Pandora’s box. But I was also very conscious of the line between satire and trivializing real pain, whether that’s domestic abuse or the experiences of the trans community.

            The show reflects on fear – fear of getting it wrong, fear of being misunderstood. Where do you think that fear shows up most strongly in creative industries today?

              Fear is something I’m increasingly fascinated by because it seems to be shaping so much of the creative industry right now. Ironically, working in theatre or film requires enormous bravery. Actors step onstage and expose themselves emotionally in front of strangers; writers offer up their ideas knowing they’ll be debated, criticized, or misunderstood. You can’t really create from a place of fear. Yet many institutions seem to be doing exactly that. No one wants to get it wrong. My own show was accepted and then cancelled before anyone had read the script. I understand wanting to avoid harm, but theatre should allow artists to take risks and start conversations—even imperfect ones.

              This is a one-woman show and described as a “tour-de-force.” What is most demanding about carrying a piece like this alone on stage?

                When I did the play which inspired Rowling In It, I was onstage almost every minute of the 80-minute run, aside from a few quick costume changes, so I thought I understood what that kind of stamina required. But a true one-person show is a completely different beast. Without a scene partner, you’re responsible for generating all the energy and momentum onstage yourself. Add to that the pressure of also being the writer, and it’s a lot to carry. Right now the biggest challenge is physical stamina, especially while raising young children during cold and flu season. I have to be very disciplined—dropping social plans, eating well, and protecting my energy. In many ways, preparing for a show like this feels like training for an endurance event.

                You’ve had such varied experiences – from impersonating Gwyneth Paltrow to filming alongside Chris Hemsworth. How does returning to live theatre compare to working on screen?

                I don’t know if other actors would agree, but I actually find film infinitely easier. I have almost no nerves on a film set anymore—put a camera in my face in front of fifty crew members and I’m perfectly fine. When I was younger my heart would race, but I think I’ve just become comfortable with that medium. There’s always another take, so you have space to experiment and adjust. Theatre is far less forgiving. Once you’re onstage, that’s it. Theatre still terrifies me, but it’s the love of my life, so I can’t seem to stay away. My pre-show nerves have never subsided; on opening night I still feel like I might either vomit or have a heart attack. But there’s no greater high than the moment a line lands and laughter comes roaring back at you, or feeling the audience lean in—that connection simply doesn’t exist on screen.

                What do you hope audiences feel as they leave the theatre?

                  In terms of Rowling In It, we want people to feel challenged, it’s a play about learning and self-examination. But also about fear and getting things wrong either privately or very, very publicly. No one wants to get things wrong, but that’s all part of the learning curve of life.

                  There’s that Beckett quote I love about the artist’s task being to “find a form that accommodates the mess.” That’s exactly what writing this piece felt like: trying to capture the mess (of getting things wrong, of learning, of self-examination) in all its glorious complexity. As I understand it, the playwright’s job is to create the conditions in which thinking becomes unavoidable. If you want to tell someone what to think, you’re probably better off doing a podcast or a TED Talk.

                  Also, it’s a satirical comedy in the later slot at the King’s Head, so bring your drinks!

                  —

                  Rowling In It by Laura Kay Bailey, King’s Head Theatre, 6-18 April, 9pm, https://kingsheadtheatre.com/whats-on/rowling-in-it-zwy4

                  REVIEW: Fleetwood Unchained

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                  Rating: 4.5 out of 5.

                  Jaw-dropping instrumentals and amazing vocals, Fleetwood Unchained achieve impressive feats in this fitting tribute

                  As one of the most iconic bands of all time, paying tribute to Fleetwood Mac in any form is no easy task. However, Fleetwood Unchained have risen to this challenge with gusto and put on a sensational performance at The Beacon Arts Theatre. With each member mirroring a member of the original band, this group really went the extra mile to make the evening special.

                  There was unfortunately a single caveat within this otherwise excellent concert. To my deep dismay, there was one song throughout the night that unfortunately wasn’t up to scratch and that was sadly the opening number, The Chain. This is one of, if not the greatest hit Fleetwood Mac ever produced, so it was truly a shame that this wasn’t at 100% as this song in particular can never be played at anything less. However, to offer some grace, it sounded as if there were some technical issues with the sound, specifically with the lead guitarist’s instrument. It can be extremely off-putting being onstage when there are tech issues and there was a noticeable problem that made the whole thing sound off, so it’s completely understandable under the circumstances. That being said, that classic bass line was still perfect.

                  A fluke in an otherwise superb lineup, it’s not an exaggeration to say that every other song was incredible. With each Unchained member paying homage to the original lineup, the Stevie Nicks of the evening gave us some stunning renditions. It feels strange to call any song on one of the top 10 best-selling albums of all time underrated but Gold Dust Woman always seems to be less appreciated than the other hits on Rumour. This version could have been mistaken for the original as this performer channelled her inner Stevie, even donning her own golden shawl for the occasion. Later, she switched out the shawl for a top hat, wowing the Greenock audience with sensational vocals on Rhiannon alongside the band’s Christine McVie and Lindsey Buckingham. The singer honouring McVie blessed the crowd with a touching cover of Songbird. The emotion she sang with was so deep it could be felt throughout the theatre and her voice was simply beautiful. 

                  These songs mean a great deal to so many, with numbers such as Songbird getting very vocal approval from the crowd before they’ve even started. Therefore, finding people who can do the music justice is imperative. It’s how tribute acts rise or fall and the ability of Unchained to rise in almost every single scenario was impressive. The man honouring Buckingham did not disappoint in this regard, not in vocals or as a musician. Big Love was a display of exceptional talent from this performer, the guitar solo being an example of his particularly gorgeous work. 

                  As is the case with most artists, the band pulled the final song fakeout, exiting the stage claiming to be done only to return for more (following a superb drum solo). This was to great cheers from all as the night concluded with Don’t Stop and Go Your Own Way, two Titans from Rumours’ pantheon of classics. These were, without question, the perfect songs to end on. They’re absolute showstoppers and numbers that give every member of the group a chance to shine. Plus, as a general rule of thumb, it’s always good to pick something that everyone will know the words to.

                  Overall, Unchained succeeded in honouring Fleetwood Mac. Though they did not have the strongest of starts, it only got better from thereon in. Everything that followed was a roaring success and the passion of this group is what makes the act work. They gave their all and proved that a rocky beginning does not have to define an entire performance.

                  The Chain is the only thing that kept this from a perfect rating but everything else was near perfection. Brilliant vocalists and absurdly talented musicians across the board.

                  IN CONVERSATION WITH: Michael Buffong

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                  Talawa – the UK’s leading Black British Theatre Company – is marking a significant milestone of 40 years in 2026. We sat down with Michael Buffong, Artistic Director at Talawa Theatre Company.

                  How does TALAWA 86:26 celebrate 40 years of legacy while supporting the next generation of Black British theatre talent? 

                  We take a moment to reflect on the incredible journey taken over the past forty years. We create opportunities to honour our fore founders, and we work to establish a resource base that allows us to continue to nurture the next generation of great Black British talent.  

                  What role does the Mona Hammond Lecture Series play in connecting Talawa’s history with contemporary diversity and inclusion debates? 

                  The entire history of Talawa is built on creating space for our artists to exist and thrive, tell their stories in the manner they choose. To support their work, we have built a community of creatives that share this ethos. Part of doing this successfully requires having challenging conversations on the true state of our industry.  

                  Mona was a trailblazer who possessed an incredible clarity of vision — she told the truth and she told it boldly. We want to keep that spirit alive by sparking dialogue around some big themes that often are not spoken about out loud. Artist wellbeing is a huge area of concern and will be one of the first themes we explore in detail. 

                  How do movement and spoken word in Fragments of Us shape the storytelling of Black British experiences today? 

                  There are explicit and implicit expectations for Black men to move, speak or behave in a certain way. Vulnerability is still not a readily championed quality. This work explores and challenges some of the stereotypes around a young Black man and his ability to connect with outré art forms. 

                  How does Talawa nurture emerging writers and performers while maintaining its signature adventurous spirit? 

                  We empower artists to shoot for the moon, punch above their weight. That is the essence of “Talawa.” It’s about providing a safe space where artists feel free to fully explore their ideas, without fear of judgement or failure. We have historic programmes such as our young people’s theatre workshop (TYPT) and Talawa Firsts that to this day provide unique opportunities for emerging artists. 

                  With productions like The Black Jacobins, how do you ensure historical stories of resistance stay relevant for modern audiences? 

                  These themes are endlessly recyclable because human nature hasn’t changed and we often fail to learn the lessons of history. The art is a mirror of society as we see it. 

                  I think it’s important to be aware of our history and historical figures such as Toussaint L’Overture. In doing so, we reveal the huge challenges we have overcome but also learn how to avoid repeating some of the mistakes of the past. 

                  Looking ahead, what are the next steps for Talawa in championing Black talent and shaping British theatre’s future? 

                  Creating bigger stages, attracting better funding, platforming more fearless storytelling. 

                  REVIEW: An Evening With Gregor Fisher

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                  Rating: 5 out of 5.

                  Fisher’s flair for storytelling and absurd humour had the audience in fits of hysteria

                  Fans filled out the theatre as legend of stage and screen Gregor Fisher sat with Nigel West to discuss his life, career and everything in-between. Having always been known for his sly wit and particular brand of Scottish humour, Fisher hasn’t missed a beat and is just as funny as ever.

                  Before discussing his famous roles or really anything about his career, he reminisced over his childhood growing up in Scotland. From tales of almost drowning in sewage after taking unnecessary shortcuts to his multiple attempts to skive school, Fisher painted a vivid picture of his early days of mischievousness. However, he also delved into conversation regarding his relationship with his mother and recanted the interesting tale of asking where he was baptised. A conversation about family baptisms, young Fisher did not expect to be met with silence when posing the question, especially after asking as second time. Choosing to “give it up as a bad habit”, Fisher left the topic alone until his Mum knocked on his door one day (a very uncharacteristic action in a house where people came and went as they pleased without much concern). Fisher re-enacts the bashful way in which his Mum sat down with him and told him that the reason they didn’t know where or if he was baptised was that he was adopted. This came as quite the shock to the 14-year-old and it was never spoken of again. When West asked him how he took the news and if it caused him to act out in any way, Fisher admitted that there were times after where it could have caused him to be less than kind to his Mum which he states, “I’ll bitterly regret till the day I die”. It is clear though how much love and affection he had for, stating as the evening went on how she would always come to see him in any stage work he did. He also gave the audience an anecdote about what was said the first time she met his wife, Vicki Burton. Ever the impressionist, Fisher did his best version of her voice as he quoted, “Aren’t you aiming a bit high?” 

                  It all worked out though as the two were eventually married, even if West did playfully hint that “she gave him the runaround” for a while beforehand. The two met on a production of A Midsommer’s Night Dream, with Fisher going on to do various other stage roles in productions such as The Importance of Being Earnest, Chitty Chitty Bang Bang and The Wizard of Oz, the show that led to Fisher and West’s first encounter as the director hired him to play The Cowardly Lion. We were even treated to renditions of songs from both these musicals, showing that despite his claims he took these jobs as “tax breaks”, he still remembers the work fondly. That was not the only rogue joke made about his past work as Fisher candidly referred to the popular rom-com Love Actually as a “skidmark”. Despite not believing much in the script, he seemed to at least enjoy his time spent with his fellow actors on the project.

                  Fisher’s most famous role, of course, is playing the titular character in iconic Scottish sitcom Rab C. Nesbitt. When asked why he thought the show worked, he mentioned he’d never quite understood the how or why. He spoke about how if people could work that out, “they’d have the Holy Grail for good television”. This prompted and audience member to loudly exclaim, “YOU ARE THE HOLY GRAIL!” This was a sentimental moment in the evening and while Fisher seemed to slightly play up his emotion for laughs, it was clear to see he was genuinely touched by this comment. That character absolutely still lives in people’s hearts as when West turned to the audience for questions, many revolved around the hit show. When asked if he would ever return and if the character would still work in this day and age, his response was “Never say never”. A more specific question revolved around whether there were plans for a skit involving Rab following the Tartan Army to this year’s World Cup. Though he hadn’t thought of it, Fisher was quick to mention that this was a very good idea, even stating he may pitch this. Another idea he appreciated, in which the entire audience were in sound agreement, came from one of the final audience questions in which a woman asked if he “could save us and finally give us a good Hogmanay this year”. Having only recently returned to living in Scotland after living in France for several years, Fisher was unaware of the dire state of Hogmanay television, a sentiment held by all. Hearing this plea, he simply said,” I’ll write to them”. Perhaps Hogmanay celebrations may be saved after all.

                  Overall, Fisher’s roguish charm and at times self-deprecating humour made for a night of laughs and stimulating conversation. The way he did small character bits here and there as well as impressions of friends and family really added to the night. It was truly delightful to hear about the life of a true Scottish legend, not only as a reminder of how much he has contributed to the craft over the years but to see how much he still has to offer. 

                  It’s arguable that even for those who aren’t longtime fans, they could have sat in that room and been turned into one just listening to Gregor Fisher talk. For those who are, this tour won’t disappoint.

                  REVIEW: Maricel

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                  Rating: 5 out of 5.

                  “Cultural immersion, done beautifully”

                  Maricel is a beautifully crafted film, shining a light on a reality faced by millions of Filipino families. With the space it allows to explore the quiet moments, it raises important questions and invites questions on the cost of success.

                  Zar Donato is excellent in the role of Maricel. She completely captures the complex, conflicting emotions of the situation unfolding in front of her. From the meticulous standard of support she provides to the elderly Greek couple in her care to the earned bursts of frustration, her performance reflects Filipino culture authentically.

                  The simple, routine moments shine across both cultures. Food plays a continuous role in the film. The showcasing of lesser-known Greek cuisine, rooted in what is readily available, highlights the simplicity of Greek cooking. The preparation of honey and ginger tea to soothe ailments, and the presence of carefully stored, plastic-wrapped snacks, will feel familiar to many within Filipino households. The running joke around long-grain rice was subtle and well done.

                  The tenderness and honesty with which the sexual realities of OFWs are portrayed are moving and deeply affecting. The film presents, in a strikingly beautiful yet unflinching way, how difference and vulnerability can lead to exploitation. It powerfully captures the spectrum of experiences – from those who endure and adapt, making the best of difficult circumstances, to the harsher, more unsettling realities that many have had to confront and overcome.

                  As the daughter of an OFW who lived in Greece, this film feels deeply personal. Seeing the crossover of Tagalog, Greek and English brought to life feels almost sacred, a detail handled with great care. The emphasis on particular phrases – where “bastos” comes to mind – feels charmingly natural. The emotional turmoil of balancing the loss of family and the acceptance of another family met with a quiet, stoic resilience echoes the determination of OFWs to create a better life for their families, often at great personal cost.

                  After the screening, director Elias Demetiou took part in a Q&A. He spoke openly about his family’s personal experience with Filipino workers, affectionately referring to the woman who inspired Marciel as a sister. His brother also composed the moving score, a first for the brothers after many years of Elias’s requests. 


                  Marciel is a human story, told with care and details that resonates well beyond the screen. Showcasing 52 feature films, including nine UK premieres and eight world premieres, catch the Manchester Film Festival until 29th March. Tickets are available here.

                  IN CONVERSATION WITH: Amy Snudden

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                  We sat down with Amy to discuss her upcoming production, Single White Female. The play visits New Theatre, Peterborough 7-11 April, Richmond Theatre 14-18 April with dates in Birmingham, Bradford, Glasgow and many more major venues across the country until 13 June. For tickets see www.swfonstage.com

                  What first attracted you to the role of Bella in the stage adaptation of Single White Female, and how did you approach bringing her to life?

                  Bella is a new character in this adaptation, replacing the dog, Buddy, from the film! Because she’s new- it’s been wonderful getting to create a character from scratch, discovering her mannerisms and her interactions with the others around her. I’ve definitely drawn on my own experience of growing up as a teenager in a world shaped by social media, using it as inspiration for her outbursts and fragility, whilst also exploring her sass and sarcasm, which I’m sure we all remember having and are familiar with seeing!

                  How has working alongside experienced performers like Kym Marsh and Lisa Faulkner influenced your performance in this production?

                  It is so inspiring to get to work with both Kym and Lisa. Watching them bring such a wealth of experience and specificity to the work throughout rehearsals and every night on stage is incredibly compelling to watch. You feel so safe when you are on stage with them, and it’s really fun getting to play around with the scenes each night, throwing all sorts of offers at each other, which keeps things fresh and exciting. Above all they are also some of the most wonderful humans to be around!

                  What challenges and opportunities come with performing in a modern reimagining of such an iconic psychological thriller?

                  One of the challenges has definitely been keeping the essence of the film while setting it in a new, modern era. We wanted to honour and preserve the iconic moments from the film — like the stiletto (iykyk!) — but also make it feel relatable and accessible for today’s audiences, which the addition of social media and modern references really helps with. Finding the right balance between the old and the new was so important. You want audiences to recognise the beats from the film, but the modernisation also gives us the chance to reintroduce the story and connect with a whole new audience.

                  Can you describe the rehearsal process and how the cast built the intense atmosphere required for the show?

                  The rehearsal process was fast, but full of exciting moments and real collaboration with our director, Gordon Greenberg, and our writer, Rebecca Reid. Act 1 was all about gradually building the tension and dropping in moments of discomfort for the audience to create that sense that something wasn’t quite right.

                  Act 2, however, was a completely different beast — a real whirlwind of action. It was so important to keep the stakes as high as possible so that the intensity and fear would really translate to the audience. Once we got into tech, the world we’d built and the tension we’d created in rehearsals really came to life with the addition of lighting and sound.

                  What do you hope audiences take away from Bella’s character and the story as a whole?

                  I think Bella really represents what a lot of teenagers are dealing with right now, especially with social media and AI being such a huge part of everyday life. That constant desire to fit in at school, mixed with the pressure to always be online and present yourself a certain way, feels incredibly relevant — particularly with all the conversations happening around banning social media for under-16s.

                  I hope audiences see Bella as someone who’s funny and relatable, but also come away with a real understanding of how damaging online bullying can be, and just how dangerous social media can become — not just for teenagers, but for anyone. And honestly, they probably won’t be in a rush to invite a lodger to stay anytime soon!

                  How does touring the UK and Ireland with this production compare to your previous theatre experiences?

                  It’s been so exciting getting to bring this show all over the UK and explore so many wonderful cities! I’m loving hearing the different audience reactions in each place we go and how they vary from city to city, keeping the play feeling so alive! I’ve also not been to many of the places we are touring, so it’s been so fun getting to explore new cities, as well as visit some old favourites again. 

                  IN CONVERSATION WITH: Matthew Ganley

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                  We sat down with Matthew Ganley for a quick chat about his latest performance in Good Golly Miss Molly. For ticketing and info, please find here.

                  How does it feel to be part of the 40th anniversary celebrations at the New Vic Theatre with the revival of Good Golly Miss Molly?

                  The New Vic means a lot to me and so many artists who are fortunate enough to work here. To be involved in such a significant milestone is a real privilege.

                  What has been the most exciting challenge in taking on the roles of Ronnie and Jack’s Father in this production?

                  Getting to grips with the Stoke accent has been a blast… me duck!

                  As an actor-musician, how do you approach balancing the musical and dramatic elements of a show like Good Golly Miss Molly?

                  The story and the music flow together nicely and so the interplay between them feels quite natural. The challenge is in figuring out how Ronnie would play a song. In that way it’s seeing the music as an expression of the character, not a separate element.

                  Having previously appeared in productions such as The Nutcracker and The Snow Queen at the New Vic, how does this show compare in style and energy?

                  The Nutcracker and The Snow Queen were classic New Vic-style Christmas shows. Both were action-packed, bold, ambitious, and full of festive storytelling. Good Golly Miss Molly is anchored in the real world of the local Stoke-on-Trent community. The dialogue is relatable and colloquial. It all has a familiar feel to it.

                  What do you think makes Good Golly Miss Molly still resonate with audiences more than 30 years after it was first staged?

                  We shall see! My guess would be the iconic, live music as well as it being a local story – it’s a reminder of the power of music, community and reconnecting to our roots.

                  What has it been like working with director Bob Eaton on this revival of his original production?

                  It’s been a lot of fun working with Bob again. I had the pleasure of working with him back in 2018 and he has such a strong eye for story, character and the audience’s experience.

                  IN CONVERSATION WITH: Lucas Closs

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                  The Sequel is a new comedy-drama from emerging writer Lucas Closs. When a novelist returns to the place that made her, she must face the people living with her version of them. We sat down with Lucas to discuss their upcoming production.

                  What was the very first spark that led you to write The Sequel?

                  I kept coming across places that had become museums of themselves, honouring their own depiction in a work of art. The setting of The Sequel (designed by Peiyao Wang) is a cafe preserved as the novelist’s description of it, not only out of the need for tourism but to celebrate a shared story, in the play this is Grace’s novel. I like how with these kinds of places there’s a gulf between the expectations set by the artist and their reality. 

                  The play explores what happens when real people become characters in someone else’s story. Is that something you have ever worried about in your own writing?

                  Grace Thoth (played by Nisha Emich) writes the story of her adolescence. Though I don’t tend to write non-fiction, the characters I write are composites of quite a few people that I tend to be unaware of while writing them- I usually don’t realise who they resemble until the last minute and quickly must change a few details. 

                  Grace returns to the place that inspired her book and discovers the consequences of turning life into literature. What fascinates you about the relationship between writers and their “material”?

                  How Grace used her surroundings for material, particularly her encounters with her old mentor, John (played by Jim Findley), is like how we all at times extract from and neglect our environment and the people in it for the sake of a story. Viewing things as ‘material’ can prevent us from existing or connecting with what’s in front us. Neither Grace or John are really able to hear or see each other due to their emotional distractions. 

                  Your work has been described as blending contemplation with menace. How do you balance humour and darker themes on stage?

                  I tend to try and find the balance by what feels plausible. A good dose of humour can sometimes feel more real that pure drama. I also think humour is a grounded and enjoyable way to explore themes such as resentment and isolation. I’m very dependent on the director, Imy Wyatt Corner, to tell me what are strange jokes I’ve made up with myself and what translates on stage. 

                  If audiences leave the theatre debating one question about authorship or responsibility, what would you hope that question might be?

                  This is the core tension for Martha played by Julia Pilkington- should I live my life as the central character in a story, or should I live ‘unnarrated’? 


                  The Sequel comes to Kings Head Theatre, London on Monday 20th April – Saturday 2nd May 2026. For more information visit: https://kingsheadtheatre.com/whats-on/the-sequel-5tbn

                  FEATURE: The Leodis Prize

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                  “The inaugural Leodis Prize has unveiled its first-ever shortlist, spotlighting ten bold, original plays”

                  A new theatre prize is shaking things up – and it’s doing it for the writers who don’t usually get a look in.

                  The inaugural Leodis Prize has unveiled its first-ever shortlist, spotlighting ten bold, original plays from completely unrepresented voices. Launched in 2025 by Leodis Talent, the prize is all about opening doors in an industry that can often feel closed off unless you already have connections, credits, or a foot in the door.

                  And the response? Huge. Nearly 350 submissions poured in from across the UK and beyond, with a team of 30 readers helping whittle things down to a final ten. It’s a reminder that the next generation of playwrights isn’t lacking in talent—just opportunity.

                  The stakes are seriously exciting. The winning writer will get a fully funded production at the Edinburgh Festival Fringein 2026, plus representation, publication with Methuen Drama (part of Bloomsbury Publishing), and a £2,000 cash boost. Not bad for a first big break.

                  What makes this shortlist stand out is its range. These aren’t safe, predictable scripts—they’re weird, funny, raw, and ambitious. Damien Hasson’s One Hundred Fires dives into identity through a chaotic stand-up set, while Tom Draper’s Lad Lad Lad turns a pub reunion into something much darker. Elsewhere, Anna Wright’s Needs Network Narrative jumps between medieval fantasy and modern suburbia, and Nia Braidford’s Strings takes on the pressures of elite sport.

                  There’s also a strong emotional core running through the list. Mary Condon O’Connor’s Before I Was A Moth explores grief with humour and warmth, while Jacob Sparrow’s Sanctuary plays with time and memory to examine belonging. From TV industry satire (Sawdust) to intimate two-handers (The Definition), the shortlist feels like a snapshot of what young theatre-makers care about right now: identity, connection, pressure, and the messy reality of modern life.

                  The judging panel—including Tamzin Outhwaite and director Sam Yates—brings serious industry weight. But as founder Daniel Hinchliffe puts it, the real story is the “amount of unrecognised talent” that emerged.

                  At a time when breaking into theatre can feel nearly impossible, the Leodis Prize is a refreshing shift. It’s less about who you know, and more about what you’ve got to say. And if this shortlist is anything to go by, the future of new writing looks loud, diverse, and unapologetically original.