Tag: london

REVIEW: The Watch

Published on by H HsuLeave a comment

Rating: 4.5 out of 5.

A tender, witty triumph, it reimagines time through the lens of queer intimacy

It’s been a long time since I last walked out of a show feeling like I’d just spent a wonderful, heartwarming hour. The Watch made that happen.

Co-produced by Bomb Factory Theatre and Chris Edge and directed by Merle Wheldon, The Watch, a new piece by Isabella Waldron, is currently premiering at The Glitch in South London. The show is built on a simple premise: Hannah (played by Ciana Howlin), troubled by her inability to fall asleep, meets a watchmaker, Zoe (Kate Crisp). The encounter between them explores healing, genuine connection, and the mending of our bodies’ broken internal rhythms in a modern world. Though the concept is straightforward, the writing makes the story deeply endearing through brilliant dialogue and world-building, all while keeping the emotional core at its heart.

The writing is fun, honest, and quirky in the best way. The story is narrated by Hannah, whose character feels so authentically crafted—quirky, messy, yet deeply relatable—that you’re utterly charmed from her very first words. Ciana’s performance as Hannah is absolutely enthralling. She grabs the audience’s attention from the very beginning and never lets go. Through her narration, we fully immerse ourselves in her life and start to experience the world through her quirky yet deeply genuine point of view. The dialogue between Hannah and Zoe also sparkles with humor and chemistry. The dynamic between the two feels so compelling that you can’t help but lean into their conversations, laughing and frowning along with every line and twist.

Merle Wheldon masterfully brings together set, lighting, and sound design to create an intimate yet cohesive world. The downstairs theater at The Glitch provides the perfect space for this heartwarming piece. The set design is simple yet effective, symbolizing the two distinct worlds of the characters before they merge. Meanwhile, the lighting crafts a fantastical yet immersive atmosphere, enhancing each scene’s emotional beats. The sound design subtly supports the world-building for most of the play but shines in particularly striking moments, immersing the audience into Hannah’s world.The Watch explores how we navigate connections in today’s fragmented, chaotic world. It reinvents the telling of queer stories in its own way – so simple, yet so deeply captivating and affecting – and redefines how we share time: no longer counting the ticking of the clocks, here we experience time in shared breath and warmth from the loved ones, in the tracing of wrinkles, in the quiet moments where time dissolves altogether.

Runs at the Glitch until 9th June. Tickets here.

IN CONVERSATION WITH: Daljit Nagra and Liz Berry

Published on by Ke MengLeave a comment

Poetry By Heart, founded in 2012 by former Poet Laureate Andrew Motion and Dr Julie Blake, is a national poetry recitation competition open to all schools and colleges in England. This year, over 128,000 young people chose, memorised, and performed a poem they love.

Finalists compete at the Grand Finale at Shakespeare’s Globe on 7 July, with 40 finalists in the Classic category and 15 schools in Freestyle, celebrating creativity and inclusion. Three schools will receive special awards.

Judges include poets Daljit Nagra, Patience Agbabi, Liz Berry, Valerie Bloom, Glyn Maxwell, and Jean Sprackland. We sat down with judges Daljit Nagra and Liz Berry.

Daljit, you’ve long championed poetry in schools. What personally persuaded you to lend your voice to Poetry By Heart, and what do you hope the young finalists will get from their involvement?

There is too much analysis of poetry in schools, too much using the head without the body. Poetry By Heart allows children and young people to connect with poems with their body as well as their brain, to feel the poem as it grows in them with each reading. Their performances before an audience, at Shakespeare’s Globe or local heats, show how the poem has blossomed in the body and come truly alive. After all, poems are not just words on a page, they need to come alive and Poetry By Heart is the best way I know of making them show how alive they really are.

Liz, much of your work explores the musicality of spoken language. How does hearing a poem recited from memory at Shakespeare’s Globe change your sense of its rhythm and emotional power?

I might have read a poem many times before, but when I hear it spoken from memory, in that extraordinary little jewel box of the Sam Wannamaker Playhouse at Shakespeare’s Globe, it always feels electric. There’s something so intimate and human about having a poem spoken aloud to you and new things are always revealed about the text.

There’s something very special about the age of the performers too, allowing them to open up things that an adult might not be able to. I can remember performances which bought tears to my eyes and those that gave me goosebumps (last year’s KS4 winner Nifemi who performed ‘Cousin Kate’ by Christine Rossetti did both at once) as well as funny, spellbinding performances (last year’s KS2 winner Iman!) which remind me how joyful poems can be when they’re lifted off the page and into our lives.

Daljit & Liz, when a student steps onto that Globe stage, what are the first qualities you’re listening and looking for that signal a winning performance?

Daljit: I like to feel the student is not acting but allowing the poem to speak through their body. That their facial and hand gestures are simply part of the requirements of making the poem be itself, that any movement of the body is a natural part that adds meaning to the poem. I’m even quite happy hearing a poem performed where the student just stands still and only their mouth moves – performances must add meaning and enable us to fully hear the poem.

Liz: I love seeing a student slip under the poem’s skin, that moment when they first forget their nerves and let the poem take over – that’s magical as it’s such a brave thing to do, getting up to perform. I like to hear students’ own natural voices and accents (always lovely!) and see that they enjoy the poem they’ve chosen (whether it be dark and dramatic or funny and light). Also: head up, look out and give your audience a little smile before you begin. I was taught this when I was a very nervous reader in my early days as a poet and it gives you a moment to relax yourself and make a little human connection with the audience before you step into the poem.

Daljit, you often write about identity and belonging. In judging this competition, how do you balance celebrating a performer’s unique voice with the need for fidelity to the poet’s text?

I love the different ways students deliver the poems because there is no one right way. We all have our own lives, in our own parts of the country, our own joys and struggles. All our experiences help us shape how we feel about the poem and this in turn shapes how we deliver the poem.

Liz, past competitors (now 18-25) still return to support the contest. What does that alumni loyalty say to you about the lasting value of learning a poem by heart, and how might it inform your feedback to this year’s finalists?

A poem by heart means a poem that lives in your heart, for always. That’s a beautiful thing to have. Poems can give us courage and reassurance, help us to make sense of things or just enjoy the nonsense. I always encourage students to choose a poem they really like and one they’d love to carry onwards with them. You never know when you might need that poem…

REVIEW: A Night Of Theatrics!

Published on by alexnorm14Leave a comment

Rating: 5 out of 5.

An evening at the Cabaret has never looked so good. 

Prepare to be swept off your feet by the magic of The Phoenix Arts Club’s A Night of Theatrics! Featuring sultry burlesque numbers, incredible feats of strength, hypnotizing aerial work, and so much more, there really is something for everyone: if you’re over 18 of course.  

The Phoenix Arts Club is the perfect underground cabaret venue. It’s speakeasy feel and beautiful decor compliments the artists it hosts. Be sure to arrive early because it offers an array of incredible cocktails and snacks. Need a little midshow refreshment? Scan the QR code and order straight to your table. A Night of Theatrics! is worth a toast or two. 

The only portion of the evening that was anything less than fabulous was the “slow, reflective” section. While Vanity’s voice is beautiful, the drop in energy was startling and dragged. The piano was a nice addition but if sat stage left, you lost sight of the marvelous Miss Von Glow and the already slow music becomes of even less interest. 

So different yet all so captivating. Resident Drag Queen, Vanity Von Glow guides the audience through the evening. She has an impressive vocal range and there’s a rasp that makes it memorable, paired with her biting wit, she’s the perfect host for this fantastic evening. 

Burlesque and fire performer, Thommy Girl, is a sex bomb. Her first piece blends the charm of Astaire with the raunch of Magic Mike. Her movements are powerful and mark her as a highly accomplished dancer. Her skill is once again evident when she returns at the end to light up the stage, quite literally. The ease with which she handles the flames is incredible. 

Burlesque performer, Eliza Delite is a class act. Looking like shes just stepped out of Some Like It Hot, she is reminiscent of a classic vaudeville performer. While many of the costumes donned in A Night of Theatrics! were amazing, Eliza Delite’s were by far the best; they oozed elegance and completed her resemblance to a pinup doll. She invites the audience in with her hypnotizing eyes and brings joy to the otherwise slinky burlesque. 

Hot, buff woman and knives? Yes, please! Daniela Derail boggles the mind with her mixed Strongwoman and Daredevil act. From tearing books in half to climbing a ladder of knives, she makes it all look easy. She isn’t for the faint of heart but if you think can handle it, you need to see it. 

Andromeda Circus is a visual masterpiece. The lights go down and out walks this fluorescent piece of art. Simple movements create captivating pictures even before the aerial work begins. The strength and fluidity in every movement was nothing short of stunning. Flexible, sexy, and mysterious, they’re simply perfect. 

Enjoy an evening of deliciously X-rated entertainment. A Night of Theatrics! will get you hot and bothered in the best of ways. Tickets here

Photo credit to Adam Razvi.

REVIEW: Permission

Published on by Savinay SoodLeave a comment

Rating: 5 out of 5.

A brilliant fresh take on South Asian storytelling

I’ve been lucky enough to review for AYP for a few months now, and been lucky enough to see some fantastic theatre. Hunia Chawla’s Permission is far and away the best thing I have seen. Charting the relationship between two young Pakistani women Hanna and Minza (played by Anisa Butt and Rea Malhotra Mukhtyar) as they start university, Hanna goes to England, whilst Minza stays at home in Karachi. The show deals with radical politics, sexuality and female friendship whilst questioning tired old narratives about the oppressed Muslim woman. 

Chawla is a wonderfully gifted writer. On the one hand she is able to be light and funny, and on the other able to write scenes so tense you could have heard a pin drop in the theatre. In an earlier conversation with AYP she said that the show was born out of a frustration with the way that we discuss women’s freedom and liberation. Permission is nuanced, it acknowledges the realities for Pakistani women in their home countries and those who go abroad. The show is political, it was philosophical, it was real – Hanna is only able to leave Pakistan because she has a great deal of economic freedom. Their relationship is complicated but they love each other, and it is that love that underpins the show. Permission neither demonised nor valorised, it just showed and that is what made it incredibly effective.

Neetu Singh’s direction is phenomenal. The actors are consistently engaging, funny and move in ways that are visually interesting. Tara Theatre is in thrust and the actors actually make use of the full space. The chemistry between Butt and Malhotra Mukhtyar is unbelievable, the latter’s multi-rolling was also excellent. The show couldn’t work if the two didn’t work so well together. They were fundamentally convincing, watching the show almost felt voyeuristic, like you were peering in on their lives. They were the only two on stage throughout the show, their physicality was phenomenal, they worked effectively with the voice tracks to create the impression of not being alone. Credit goes to the voice actors as well (Bhasker Patel, Asfandyar Khan and Lavan Jeyarupalingam)  as their performances were wonderful, even without their physical presence.

Permission’s technical design is also revelatory. Amanda Ramaswamy (set and costume), Ali Hunter (lighting) and Pierre Flasse (sound) are all at the top of their game, elevating the relatively small stage space in Tara Theatre. It is hard to communicate in words how effective the design was, one almost forgot that it was there because of how immersive it made the world of Hanna and Minza.

Permission is the exact sort of story we need, it is nuanced, empathetic, fantastically executed, funny and sharp. It is a story that is unapologetically South Asian without verging into tropes or stereotype. It is rare to see something so fresh. Everyone who likes theatre should watch this show, and if there is any justice in the world Chawla, Singh, Butt and Malhotra Mukhtyar will be household names in the next decade.

REVIEW: Hatch and Scratch

Published on by Ben BreenLeave a comment

Rating: 4 out of 5.

“An exciting showcase of brand-new writing”

Performing five freshly-written pieces in a single evening sounds like a challenge, but Hatch & Scratch manage it six times a year. Usually at Riverside Studios, tonight’s edition emanates from Canada Water Theatre as part of the Peckham Fringe Festival, offering the audience a series of 15-minute pieces that sit at the bleeding edge of contemporary theatre. The variety of the pieces is well chosen, ranging from absurd body-swap comedy to a gritty reckoning with generational trauma, and each performance is surprisingly high-quality in both its writing and production.

The evening begins with The Wedding Date, performed by its writers Sera Mustafa and Orla Tagg. It follows two young, single women thrown together at a wedding reception, getting good laughs as they swap war stories about recent Hinge matches; Mustafa jokingly eggs on the more timid Tagg to find a hook-up: “We’re at a wedding – you never have to see him again”. A nice dramatic flourish rounds off the scene, leaving a strong impression as a character study. It’s no surprise to hear this is an excerpt from a longer piece, which if this snapshot is anything to go by promises to be charmingly funny and dramatically compelling.

Next up is the night’s highlight: Lucy Lutte’s It Ends With Me, a searing reckoning with generational trauma, as a daughter (Michelle Aramidé) fights to persuade her mother (Valerie Paul) to leave her abusive husband. A series of punchy exchanges over a single evening highlight the two performers’ chemistry, and the script crackles with heartbreaking authenticity. Paul’s fear – of her husband, of losing her identity, and of what comes next – grabs the audience and doesn’t let go, and a delightfully ambiguous ending makes for a satisfying fade to black.

The more lighthearted Behind the Tracks joins two school pupils (Vigs Otite and Georgie Spencer) as they compare meal-deals and bicker over outlandish would-you-rather questions. The script zips along at an engaging pace and there are some funny lines here, though unconvincing delivery dulls their impact. The interaction between two young people feels real and believable, but a sudden pivot to heavier themes is abrupt and underdeveloped, lacking the foreshadowing needed to earn its emotional turn. This results in a muddled attempt at reckoning with death.

A more impactful story comes from the evening’s only monologue, Today’s Mind Bender, which pulls out all the stops to be as dynamic and engrossing as its two-hander competition. Pete Picton plays a retiree reconnecting with the world by solving crosswords on video, reading out viewer comments and talking about his life. But there’s sadness behind his eyes, and as he talks of a medical diagnosis it’s clear not all is well. Summer moves into autumn, and Picton’s excellent acting and a nuanced script combine to paint a picture of the solver’s decline. A jarring false ending could be easily remedied – is it necessary for Picton to fully leave the stage between each video? – and Picton’s sympathetic and charismatic portrayal means you are left in no doubt when the piece reaches its actual climax.

There’s an absurd finish to the night with Swine Fever, as Bobby’s best friend (Andrew Atha) and girlfriend (Woori Han) find him turned into a pig (played by a portable speaker). It’s not clear whether this is meant to be funny or serious: the humour is over-reliant on irony and misses some easy laughs, but as a political commentary about how easily we accept ridiculous ideas, the premise works better on paper than before an audience. The narrative would also benefit from clearer initial exposition, as evidenced by the couple behind me who spent most of the piece worried it was about bestiality! With some reworking, Swine Fever could be exciting, but it doesn’t properly land on the night.

At its core, Hatch and Scratch is a deeply supportive evening – each creative is applauded individually before each performance, and the audience are invited for drinks with everyone afterwards – establishing a real community feel. There’s a collective desire for each piece to succeed, and this success is well-earned: the writing, staging and performances feel far more polished than what you’d expect from a new-material night. For someone excited to see brand new theatre ‘hatch’ onstage, this is the perfect show. It definitely ‘scratches’ that itch.


Hatch & Scratch run shows once every two months at Riverside Studios. When available, tickets can be purchased here.

IN CONVERSATION WITH: Rosie Ward and Ursula Early

Published on by Lucy HolzLeave a comment

As You Like It follows the success of last year’s Much Ado About Nothing and the company’s Offie Award-nominated A Midsummer Night’s Dream and Romeo & Juliet. This joyful, family-friendly outdoor production blends contemporary London culture with the Bard’s wit, romance, and secret identities. Rosalind, Orlando, and a vibrant cast of characters navigate love and self-discovery in a Forest of Arden reimagined as a lively festival of music, cabaret, and revelry. We sat down with producers and and co-directors of the East London Shakespeare Festival, Rosie Ward and Ursula Early to discuss their upcoming production.

How does your community engagement programme aim to bring new audiences closer to Shakespeare’s work?

Shakespeare was all about involving the audience and creating entertainment for everyone; and that is what we aim to do – we create dynamic, physical and relevant productions which audiences can enjoy & understand, even if they don’t understand every single word, or they are new to Shakespeare. & the community engagement programme takes that a step further, by allowing the local community to participate and become part of the story. The community cast take on roles within the play, our actors run garland-making workshops with young audience members, which they are invited to don during the show when we move to the enigmatic Forest of Arden. We want to break down the barrier between audience and actors (quite literally in some instances with actors performing in the audience, possibly nicking a bit of someone’s picnic!) and instead for it to feel like a story everyone is experiencing together. All our activities are either free or low-cost, to allow as many audiences as possible to access and enjoy them.

What exciting opportunities can local families and communities expect as part of the engagement programme? 

The Community Cast is open to anyone aged 14+. Local people join our professional cast for rehearsals, they learn songs/dances and are given roles within the show and perform with us at multiple venues. This year, we are thrilled to have 3 community casts, in Walthamstow, Newham and Leytonstone. Our fabulous and friendly cast run pre-show garland making workshops for 3-11 year olds; and they are also the ones welcoming audiences to the show, supported by our Volunteer Usher team – a scheme which allows local people to get involved, see the show and meet the team. We offer an Apprentice Scheme, and will be employing 2 young people (18-25) one to be a full cast member (Apprentice Actor) and one Stage Management & Theatre Production Apprenticeship, who will work with the Producers, Stage and Company Manager and Front of House manager to get invaluable work experience in managing an outdoor tour. We are offering pay-what-you can shows in Walthamstow, Newham and Leytonstone.

How do you ensure that the workshops and activities reflect the lively, festival atmosphere of As You Like It?

The focus is always fun and frivolity and creating an atmosphere where audiences can relax and enjoy quality time… and East London Shakespeare Festival shows should always feel like a festival! Audiences come with their picnics, often friends or families of all generations; and we hope there is something for everyone – kids can get crafty with the cast while grown ups enjoy a picnic on a (hopefully warm) summer’s evening, then all enjoy some high-quality, affordable theatre on their doorstep.

What strategies are you using to make Shakespeare’s themes feel accessible and relevant to today’s audiences?

The themes in As You Like It are timeless – identity, self-discovery, love, forgiveness. We have set ours in the modern day: a superficial, city backdrop before the characters run to the Forest of Arden, where the banished Duke Senior has set up an underground cabaret scene – it has become a safe haven for outsiders and creatives, people who feel they don’t fit it to the ‘norms’ of the city. As with all ELSF productions, we use movement, physical theatre and some sensational music and dance numbers, to get everyone involved!

How does expanding the tour to new venues influence the outreach and inclusivity of your engagement work?

Expanding allows us to reach more communities and work with more people. We work closely with local authorities and local partners, who support outreach – we are passionate that as many people as possible can benefit from the programme. 

What has been the most rewarding aspect of connecting with local communities through previous productions?

Meeting and working with new people from all backgrounds, ages and life experiences. We build genuine relationships with people and many participants come back year on year, and tell their friends! Some participants have been supported and mentored within the company, for example, a member from our 2022 community cast was our 2023 Apprentice Actor. 

As You Like It, will tour to 18 parks and open spaces to entertain family audiences across east London and beyond, from Friday 6 June – Sunday 3 August. Tickets are available here.

IN CONVERSATION WITH: Joumana Mourad

Published on by Ke MengLeave a comment

IJAD Dance today announces the line-up for its Open Online Theatre Festival of live hybrid performing arts: OOTFest25 (UN)SEEN, taking place at Riverside Studios in London and online on Open Online Theatre from Thursday 5 – Sunday 8 June 2025. We sat down with Artistic Director Joumana Mourad, to discuss the upcoming festival.

What inspired the theme of (UN)SEEN for this year’s OOTFest25, and how does it reflect the evolving relationship between technology and performance?

It all started with a glitch. In a world obsessed with flawless performance, the glitch is the moment that stops us in our tracks — it grabs our attention, exposes the seams in the system, and allows us to glimpse what’s usually hidden. Through that rupture, we begin to see the (UN)SEEN.

This year’s OOTFest25 embraces those fleeting moments of revelation. We’re turning our focus to the possibilities that lie beneath the surface: the radical ideas, artists, and technologies that don’t always get the spotlight. (UN)SEEN reflects a growing movement within live and hybrid performance, where XR, MR, AI and other emerging tools are challenging conventions and opening up new creative frontiers.

Many inclusive artists and creative technologists are at the forefront of these developments, expanding what performance can be — yet much of their work remains out of sight, often overlooked by mainstream platforms.

Our theme, then, is a call to attention. We want to highlight the makers who transform glitches into gateways — who use technology to question identity, accessibility, and the very nature of liveness. By making the unseen visible, OOTFest25 celebrates the people and practices reshaping the relationship between technology and performance, and invites audiences to reconsider what lies just beyond the polished surface.

How does IJAD Dance define and approach “live hybrid performance” differently from mainstream interpretations, and what new possibilities does that open up for artists and audiences?

Our focus is on live hybrid performance – a form that brings together live performers, an audience in the theatre, and a digital audience at the same time, often using technologies like XR, MR, VR, and AI. Unlike other hybrid formats that might mix digital and physical elements without including live theatre, live hybrid performance keeps the ‘liveness’ at the heart of the experience. This real-time connection creates a shared moment between everyone involved, something that is often lost in fully digital or pre-recorded formats.

With performances blending XR, AI, and motion capture, how do you ensure that technology enhances rather than overshadows the human experience at the heart of live art?

The methods we encourage are based on genuine collaboration between technology and the performing arts, where neither discipline takes precedence over the other. The work is created with and through both, designed for audiences who want to actively participate in experiences that only make full sense when these elements come together. It’s not about using technology to enhance performance, but about creating something new that emerges from the shared language of both fields.

What role do you see OOTFest25 playing in shaping the broader conversation about the future of performance in a digitally connected world?

OOTFest25 plays a vital role in shaping the future of performance by providing a space where digital innovation and artistic practice are developed in equal measure. Since 2010, IJAD and Open Online Theatre have been at the forefront of rethinking performance in response to technological, economic, and social change. Our journey—from early experiments using social media as a stage to pioneering immersive hybrid experiences using XR, motion capture, and AI—has always centred on co-creation and audience participation.

OOTFest25 is not just a platform for showcasing work, but a culmination of years of research, testing, and thought leadership. It invites the sector to engage in a shared conversation about liveness, presence, and narrative in the digital age. At a time when the line between physical and digital continues to blur, OOTFest25 demonstrates how technology and the performing arts can come together without hierarchy, creating experiences that resonate across both realms.

By anchoring performance in real-time audience connection—whether online or in person—OOTFest25 challenges outdated models and offers new methodologies that are inclusive, scalable, and deeply participatory. Through our residency programme, open calls, and artist collaborations, we aim to support a new generation of creators who will continue to shape a culture of hybrid performance. In doing so, OOTFest25 reinforces IJAD’s long-standing commitment to innovation, accessibility, and the future of performance beyond borders.

Can you share a moment or piece in this year’s line-up that, for you, perfectly captures the spirit of experimentation and innovation that the festival champions?

It is incredibly difficult to single out one performance, as each piece brings its own unique fusion of technology, narrative, and embodied presence. The programme is intentionally diverse, offering a spectrum of creative possibilities—from the immersive Afro-futurism of Fidy Twuny and its oceanic rites of passage, to the emotionally layered AI transformation of Metanoia, which explores memory and identity through interactive storytelling.

Marlon Barrios Solano’s Born in Latent Space invites audiences into a poetic dialogue with generative AI, while Pierre’s Terms and Conditions reveals the complexity of digital identity and surveillance through a choreographic lens. UKU’s INTER:FASE reimagines movement in virtual space using motion capture, and JoJo’s Resonant Silence creates a space where sound and gesture co-compose the performance in real time.

Each work exemplifies a distinct dialogue between technology and the body, expanding what performance can be. The breadth of approaches in this festival reflects the richness of the moment we’re in—one filled with imagination, inquiry, and curiosity. It is this collective offering that makes OOTFest25 so impactful: not just one work, but the entire ecosystem of practices in conversation with each other.

How do you envision the impact of the AI Innovation Lab Day, and what are the most urgent questions you hope it will help the performance community begin to answer?

The AI Innovation Lab Day is designed to be a catalyst—a moment for deep reflection and rigorous imagination across disciplines. By bringing together artists, technologists, legal experts, and ethicists, we aim to foster a space where hybrid performance is not only reimagined but grounded in care, criticality, and collective wisdom.

We envision its impact as twofold: first, to equip the performance community with a clearer understanding of how AI technologies can be creatively and responsibly integrated into artistic practice; and second, to shape an inclusive discourse that doesn’t just react to emerging technologies but actively participates in defining them.

The four Es—Ethics, Epistemology, Economics, and Environment—act as guiding lenses. Through them, we hope the Lab will begin to answer some of the most urgent questions, including:

  • Ethics: How do we build frameworks for AI in performance that centre equity, transparency, and consent? How do we protect the agency of both artists and audiences in increasingly data-driven environments?
  • Epistemology: How does AI challenge or reshape the way we generate and share knowledge in performance? What new forms of authorship, memory, and storytelling does it enable—and at what cost?
  • Economics: Who profits from AI-integrated artistic labour, and who is left out? How do we create models that ensure sustainable, fair compensation and access for artists across different scales and geographies?
  • Environment: What are the ecological costs of the technologies we’re embracing? How do we balance innovation with responsibility for the material and energy footprints AI entails?

Ultimately, the Lab is about holding space for nuance—to challenge techno-solutionism, champion imagination, and build a future where AI in the arts is shaped by communities, not just code.

IN CONVERSATION WITH: Kelsey Norris

Published on by ayoungishperspective11 Comment

We sat down for an exclusive interview with Kelsey Norris whose new play The Witchfinder premieres at McQueen’s Theatre June 6-8th. The Witchfinder is an original historical drama based on the true story of England’s deadliest witch hunt. Tickets here.

What first drew you to the East Anglian witch trials, and how did your academic research evolve into writing a full-length play?

I’ve always been interested in witch trials. There’s a kind of mystery to them — a question of what really happened, of finding the reality in stories of witches and magic and the Devil. Because it’s almost never an entirely made-up account, there’s always some underlying truth, some genuine fear or conflict that becomes exaggerated into accusations of witchcraft. I like asking what witch trials can tell us about a community and the East Anglian witch hunt was the largest witch hunt England ever experienced, so I think it has a lot to tell us about people at that time. And there’s such an inherent drama to witch trials, a theatricality and strong emotions that I think works perfect for the stage, so writing The Witchfinder was a chance for me to combine my academic interest with my personal love of theatre.

The Witchfinder touches on themes of fanaticism and fear – what parallels do you see between 1645 and today’s world?

The Witchfinder follows the rise and downfall of Matthew Hopkins, the Witchfinder General and one of the key men behind the witch trials that would see 100 people executed. He was a young man in his mid-20s who came from a privileged background, but lacked a strong sense of self and connection with other people and who felt entitled to respect from his community. He starts out with only minor involvement in investigating a witch, but is rewarded for his actions, and this encourages him to commit greater and greater acts of harm in an attempt to gain approval and respect. We see the same thing happening with young men today: boys and young men who feel alone, who find community in online chat groups or friend groups that encourage harmful or hateful behaviour (against women or racial minorities or other marginalized groups), and become radicalized. 

But it wasn’t just Hopkins behind the witch trials. Whether out of fear or personal biases or indifference, entire communities supported innocent people being imprisoned and executed for crimes they couldn’t possibly have committed. It’s easy to assume that we in the modern day are more rational than our ancestors, less likely to jump to superstition, but how sure can we really be that we would never turn against our neighbour? 

People in 1645 were dealing with many of the same issues we’re dealing with today: war, economic uncertainty, political tensions, and prejudice. People in Essex in 1645 were afraid; many people today are afraid; and fear can lead people to do terrible things. 

Writing a historical drama based on real events can be tricky – how did you balance historical accuracy with theatrical storytelling?

I wanted to be as true as possible to the real life people and events, but the trials took place over two years while The Witchfinder is about two hours, so things have to be simplified. And there are people who were involved in the East Anglian witch trials that we simply know next to nothing about. This is particularly true of the victims of witch trials. In moments where there’s just no way to be historically accurate, because we don’t know the truth, I tried to instead be historically plausible. We don’t this happened, but might it have happened? 

But what we do know about the real events of the witch trials makes for great drama. It’s people backed into a corner and fighting for their lives to convince the world they’re innocent. It’s neighbours turning against one another or emotional outbursts in a court room. And in some cases, I actually had to change real life events for The Witchfinder, because I thought: this really happened, but there’s no way anyone would believe this if I put it on stage. Sometimes truth really is stranger than fiction!

The play features an ensemble cast of twelve – how did you approach directing or shaping those characters to bring out the wider story?

It was important to me from the beginning that these characters feel like real people. That just because they lived almost 400 years ago, everyone involved in the project understood these characters were just as human as we are now. And I’ve been fortunate enough to work with a brilliant cast, who have taken to their characters with such empathy and nuance!

Several of our actors are multi-roling with some playing as many as five or more characters. Some of these characters only have a handful of lines, but the cast is so talented that every single character feels like a fully-fledged, distinct human being. We’ve really focused on establishing backgrounds and motivations, regardless of whether a character has two lines or two hundred.

What was the biggest surprise you uncovered during your PhD research that found its way into the script?

The working title of my research is ‘Men and Masculinities in the East Anglian Witch Trials, 1645-1647’ and it looks at men’s experiences in the trials and how they related to other men. One of the ideas my research has been exploring is that witch hunting offered men a chance to portray themselves as heroes to their communities. For someone like Matthew Hopkins, he doesn’t have a set place in society, but in persecuting witches he is able to pass himself off as a savior and is able to form alliances with powerful men and increase his own status. So I suppose one of the surprises of my research has been just how much the East Anglian witch trials comes back to men, because on the one hand witch trials are the stories of women (who made up the majority of those accused of witchcraft), but in other respects it is a story about insecure men: men who are insecure about women, but also insecure around other men, and who harm vulnerable people in an attempt to prove their value as men to other men.

The play had a preview at UCL – how did audiences respond, and did that experience influence any changes for this full run at McQueen’s Theatre?

I wrote the original version of The Witchfinder for a festival at UCL. It was a shorter version with three characters, two witchfinders and a woman accused of witchcraft. It showed her interrogation and attempts to convince the witchfinders she was innocent.

I wasn’t sure at the time if I would develop the project further. I didn’t know if audiences would relate to it. Witches are weird, after all. But I was wrong: audiences connected with it and after the performances I had people asking what happened next or how much of the play was true. That feedback gave me the confidence to keep developing The Witchfinder.

The original version of The Witchfinder is still more or less present in the full length play, but now we see what lead up to that night and what happens after.

REVIEW: Beauty and the Beast

Published on by annieyezhoua29f00172fLeave a comment

Rating: 4 out of 5.

A daring, modern and moving retelling of the classic Beauty and the Beast

This version of Beauty and the Beast was originally produced by LGBTQ+ theatre company Flying Stage in Japan in 1996. It has since been translated into English by translator Gareth Mattey and made its debut at Jermyn Street Theatre. We were delighted to see a 20-minute reading at its second-ever showcase performance at Belly Scratch night at Underbelly Boulevard.


With a modern and queer twist on the classic, this reading explored the unlikely connection between Gloria, a film-obsessed drag queen, and Ryuji, a homophobic gangster on the run. The piece was directed and co-produced by Shogo Amo, who also stars as Gloria and was magnetic from the moment they stepped on stage. Their performance carried so much heart and humour that the audience couldn’t help but fall in love with Gloria. They were funny, vulnerable, and entirely disarming with their quirks.


The tone of the piece struck a nice balance, charged and tense at times but punctuated with moments of comedic relief that landed strongly with the audience. The writing felt fresh, peppered with modern language and cultural references that gave it a real sense of modernity.


I would’ve loved to see a bit more from Ryuji. His journey, from closed-off and combative to gradually softening, is a compelling one. However, in the reading, the shift in his attitude felt rather sudden. I imagine that nuance will come through more clearly in the full production as the relationship would have more space to develop. There was clear potential for a more layered dynamic between the two characters.


Overall, it was a genuinely promising showcase. I’m curious to see how the full-length
version continues to develop this complex, funny, and surprisingly tender story.

REVIEW: Bog Body

Published on by Savinay SoodLeave a comment

Rating: 3 out of 5.

Moments of brilliance in the writing


Bog Body begins with a nervous woman half an hour before her wedding, the twist is that she’s getting married to the Lindow man, a 2000 year old dead man whose body was perfectly preserved in the peaty conditions of a bog. Produced by Itchy Feet theatre, written and directed by Jen Tucker and performed by Maddie White, Bog Body is a quintessentially fringe show, performed at the Arches Lane Theatre as a preview for Edinburgh. It’s a one woman dark comedy show about a frantic woman that is very stripped back. It’s conversational and meta, our protagonist Petra conversing with the audience. Though Itchy Feet describe it as experimental, it is a fairly typical fringe style one person show.

The show worked best when it was funny and there were moments of brilliance in the writing, lines like “but he’s a really good listener,” were great. Unfortunately, it strayed from the comedy after the first third or so of the show which in this reviewer’s mind is a bit of a shame. The story was too large for the 45 minute run time, there were no shortage of intriguing plot lines that were unfortunately unable to be realised. I would have loved to have seen a more thorough reckoning with her sister’s death, Petra thinks her sister was murdered but why she thinks that is never addressed. Her relationship with her mother similarly seemed like an interesting topic that ultimately wasn’t covered in enough depth. 

White’s performance was solid, changing from level to frenetic with ease. Once again due to the compressed length of the show, it felt as though she was forced to do exposition rather than depth. The tech is similarly stripped back and it would have been great if there had been slightly more complexity in terms of the set, I loved the dirt circle but maybe something that showed the Lindow man or placing her stack of books somewhere more obvious would have helped build out the scenery and the world.

Bog Body is by no means a bad show, however I felt that it did not hit the heights that it had the potential to hit. With some development the show could be great, the concept is strong and when it’s funny it’s brilliant. It would be interesting to see what they do with the show between now and Edinburgh.