Tag: new writing

Photograph Via What's On Edinburgh

REVIEW: Witches Corner

Published on by Iona GoodallLeave a comment

Rating: 4 out of 5.

 A wild, witchy blend of past and present feminist struggle.

“Bob’s your uncle, Fanny’s a witch!” runs the refrain of the amateur witchfinders in Encapulus Productions’ play Witches Corner. It’s an unabashedly feminist telling of a local, historical story with universal themes of the struggle of women to be heard by a patriarchal society that will do all it can to keep them silent.

The Pittenweem Witch Trials of 1704 isn’t a story many people will know well, although it’s easy enough to guess – women falsely accused, outsiders turned into scapegoats, and a boy who lied getting away scot free. But through Eilidh Smith’s script we examine the depth behind historical fact, introducing the brash Beatrice Layng (Sydney Mulligan), the first accused; the clinical (and sadistic) Patrick Cowper (Alannah Skellett), the minister who led the hunt; and the desperate Janet Cornfoot (Gracie Spencer), throwing herself to the mercy of people who would never believe her. She also links it with the modern day through a present-day Pittenweem girl (Lori Stott) and her grandmother (Lorna MacFarlane), who both uncover the story of the past and relive it.

The ensemble cast alternate roles throughout the play between victims and perpetrators, comedy and deep grief, set to songs composed by Rona Johnston. The play thrives when it lives at the extremes of these emotions. The amateur witchfinders previously mentioned (played by a foul-mouthed Lorna McFarlane and an effortlessly funny Sydney Mulligan) had the audience roaring with some audience interaction in demonstrating witchfinding techniques – Alannah Skellett’s song as Father Cowper had a sinister, sexual energy – and Gracie Spencer’s final solo song as Janet was tear-jerking and powerful. However, the play sometimes struggled to bridge the gap between the high and low points, with some scenes not quite hitting their comedic marks.

It also felt like the play was full of characters and events, and perhaps could have been stronger by focusing on just 2 or 3 stories of victims, allowing us more time with them – Sydney Mulligan late in the play had a great monologue as a beautiful girl, cast aside and eventually hunted once no longer desired – but I don’t ever think we heard her called by her name in the script, nor did she interact with the other characters.

The production was kept moving throughout by atmospheric on-stage music from the 5 cast members and seamless costume changes. The symbolism of the crosses hanging one by one on the backdrop as each woman fell victim to the hunt was simple, but hung as a constant reminder of the village’s loss. 

Witches Corner is a rollercoaster of a story that, despite a touch of girlboss-feminism slant, forces recognition of the suffering of women for nothing more than being themselves. In 1704 and in 2026, in Pittenweem and across the country, witches need to stick together.

This show has finished its run. Find more at the Scottish Storytelling Centre here – https://www.scottishstorytellingcentre.com/

REVIEW: Deadcrush

Published on by jaybinghamLeave a comment

Rating: 3 out of 5.

A simple, funny story of an unusual couple

Suitable for 14+

Deadcrush is an unconventional romantic comedy by James Robertson (they/them). It follows a sweet, bubbly woman named Bron, who has fallen in love with David, a dead man. Carrying an ash-filled urn with her, Bron navigates the objections of David’s resentful sister, Annabel, and the confusion of French government officials in order to live contentedly with her soulmate.

Although Robertson’s script and direction are scattershot, they still deliver an original, humorous story. In the Deadcrush programme, Robertson states that they were “interested in the multi-layered forms that love can take,” such as becoming obsessed with people we do not know. Deadcrush, however, turns out to be a single-track story, as Bron only feels an idealised love rather than any complex emotions. Robertson does touch upon the complexities of David’s character, revealing him to be a drug addict, which adds some substance to an otherwise simple story.

Maria-Vittoria Petroni delivers an earnest performance as Bron. While she sometimes lacks tonal variation, she more than makes up for it with her facial expressions. A widening of her eyes or a curling of her lips can elicit many laughs from the audience. Petroni fills this bizarre story with a great deal of heart; Bron’s optimism and love for David are clear in her eyes, making her a delight to watch.

Sammie Court and Jay Lafayette Valentine (they/them) bring fantastic supporting performances. Court, playing Annabel, effectively conveys Deadcrush’s serious side. During her monologue about David’s death, the hostility and despair in her voice are palpable, tugging at the heart. In contrast, Valentine’s performance is comedic perfection. Playing both a priest and the President of France, both utterly bewildered by Bron’s requests to marry David, they deliver every line with such brilliant timing and vocal control that the audience is swept away.

Deadcrush’s technical aspects are in need of fine-tuning. During monologues, the two remaining actors move about the stage in an off-putting manner, suggesting unnecessary direction. The violin score, played by the talented Grace Brown, is lovely but detracts from moments that would be more effective without background noise. The script itself is not fully solid, containing several awkward pauses and random lines. However, Deadcrush remains an entertaining and unique play, brought to life by three excellent actors.

REVIEW: Union Shorts

Published on by Eoin FentonLeave a comment

Rating: 4 out of 5.

The future shines bright in the hands of these young playwrights. 

In its third edition, the Union Theatre presents Union Shorts. This evening showcases eight emerging playwrights, all vying to pique our interests with a short piece to show their stuff. The standard is impeccably high this year with writing that ranges from the comedic to dramatic, the political to the personal. 

We’re Boiling Alfred Baynes a self-serious journalist from London covering all things cartel in Mexico City. Its mix of telenovela plot points and monologues with dry British humour makes for a surprisingly harmonious blend. The hot-headed, bleeding heart proclamations by Ewan Bruce in the titular role and Mackie Reyes (who is also the playwright) are charmingly absurd, all while Shona Graham is brilliant as Baynes’ wife, a toffy English expat, being grilled by the thickly accented policia. Gloriously grandiose stuff. Sex on the Beach finds a pair of lovelorn strangers speaking aloud their thoughts while sun-bathing near each other on Brighton beach. Their primary concern is whether the other is interested in each other. The parallel dialogue is clever, and neatly shows Robert Frew’s unconventional approach. 

Invader shines with a megawatt performance from Ben Watts as the charming, albeit hammered, beau of an heiress. His drunken antics and mop-like physicality breathe life to what is an otherwise totally mismatched work from Aaron Rooney. That’s All the Questions We Have is welcomingly absurdist and clownish, with the flustered trio swapping roles like an especially anxiety-inducing game of corporate musical chairs. Richard A Horn (pen name for Andrew Friedman) has a sense of palpable world-weariness but never overtly whiny. It’s cheeky, Gen Z nihilism never bogs down the antics too hard. 

Isabelle Tyner’s Something Only We Know manages to capture the art of simply speaking, the moments of awkwardness found in extreme situations. Undoubtedly the simplest of the eight works on show this evening, and certainly effective. Netta Walker’s sci-fi drama Nordica is effectively cold and clinical, discomforting to watch. It’s got some of the strongest performances from Siana Cooper and Julia Florimo in the medical interrogation chamber. The twist is apparent as the action proceeds, but Walker shows promise in her tension building. Georga De La Cour also keeps things simple in her very funny morsel of work Sisterland. Conversational and snappy, and with great performances from Albertine Sins and Tabitha Kenworthy as the drunken girls who find unity in the ladies’ room. Cameron Corcoran’s Rat has clear influences from Martin McDonagh and Quentin Tarantino, and for the most part keeps up with those giants in this twisting and turning gangster tale. It pulls you in when it is dramatic, but really soars when it embraces its absurdity.

IN CONVERSATION WITH: Hunia Chawla

Published on by Ke MengLeave a comment

We sat down with Hunia to discuss her play Permission, A play about patriarchy, protest and the global political order at Tara Theatre.

What was the inspiration for ‘Permission’? 

The inspiration for Permission comes from the oversimplified way we talk about women’s liberation, especially in the stories we tell about South Asians. There’s a common narrative where the girl from a conservative family is ‘enlightened’ by western values and eventually saved by them —like in Bend It Like Beckham (I still love the movie though!). Liberation for women is often reduced to western ideas of freedom around clothing and sexuality, ignoring how women’s freedom is also shaped by political borders and violence. For instance, when we talk about liberating Afghan women from the Taliban’s enforcement of the veil, we overlook how this idea of freedom is used to justify bombing their homes and families.

On a personal level, Permission reflects my journey as a solo, first-generation immigrant moving from Karachi to London. I wanted to explore how this move stretched my understanding of freedom—from growing up in Karachi amid the “War on Terror” to witnessing the rise of Pakistani feminism through the Aurat March, and now being part of the wave of solo female immigrants from Pakistan seeking “freedom” abroad. As I navigated the exhausting immigration process and found myself on several picket lines in the heart of the Global North, I couldn’t help but question: How free are we here? How safe are we here?

How would you describe the relationship between Minza and Hanna?

Hanna and Minza’s relationship is complicated. Like any close friendship, it brings out the best and worst in both of them. They are each other’s escape from feeling trapped in their realities, but also a reminder of what it means to feel at home. At their best, they dream together—about each other’s futures and a better world. At their worst, they reflect back the fractures and misunderstandings we often ignore in our idealistic visions of peace and utopia.

But it’s not all heavy—they also have a lot of fun together. I don’t know if Hanna and Minza will be friends forever, but at this moment in their lives, as captured in Permission, they wouldn’t be themselves without each other.

What do you hope audiences will take away from the work? 

I want the play to challenge how we think about freedom—pushing beyond identity politics to consider the realities of state violence. I hope it prompts people to question their own ideas of political action and radical change—and to reflect on their personal relationship with it. If nothing else, I hope Permission gives audiences a glimpse into the lives of two Pakistani girls living in today’s Karachi, doing their best to navigate and live a full, free life.

How does it feel to have Permission performed at Tara Theatre? 

Tara Theatre is such a politically motivated and open-minded space, and honestly, this play couldn’t have found a better home. It’s a place that encourages bold, diverse storytelling and allows for the kind of conversations Permission aims to spark.

Ticket and info:https://taratheatre.com/whats-on/permission/

Image Credit: Atanas Paskalev

REVIEW: RED OR DEAD

Published on by Heather DoquiatanLeave a comment

Rating: 4 out of 5.

‘Peter Mullan’s exemplary performance as the driven and dogged Shankly is captivating throughout.’

‘Red or Dead’, based on the novel by David Peace and adapted for the stage by Phillip Breen, is a story about Bill Shankly and his impact not only on Liverpool Football Club, but on Liverpool itself. Of the cast (a staggering 52), the majority are not professional actors, but members of the theatre’s Community Choir, giving greater weight and realism to Shankly’s enduring importance to both club and city. 

This is a play which takes a ‘slice of life’ to the extreme, with the substantial running time (somewhere around the 2 hours 20 mark) covering a whopping 22 years of Shankly’s life and career as manager of LFC. This is a fictional account, but there’s no particular exaggeration for dramatic effect to speak of. This is not to say it dragged – with the exception of a few slower sections, Peter Mullan’s exemplary performance as the driven and dogged Shankly is captivating throughout. It’s worth seeing this show just to watch the contrast between his first and second act performances – in the former, he conveys power and passion entirely by voice without excessive facial expressions or deviation from ramrod-straight posture; in the latter, he introduces a stammering uncertainty to his speech and adopts a bewildered, lost stage presence. Whoever takes the role of Shankly after Mullan will have some fairly enormous shoes to fill (as, I suppose, must likely have been said of Shankly himself). 

The play’s chorus showcase by turn enthusiastic supporters at Anfield and the demanding masses, blend fluidly into and out of the LFC team and board members, and vocally and physically assist with scene changes (this is not nearly the sum of everything they do – it’s truly impressive). Max Jones’ sparse set stands as everything from the Shanklys’ home in West Derby to the LFC changing rooms at Anfield – and, to be fair, not all that much in between. The lack of visual difference between scenes exposes Shankly’s inability to split his life between work and not-work – his wife Ness (played – and sung – by Allison McKenzie) frequently stands silently to the side rear of the stage while Shankly opines, encourages, and manages: certainly this shows her as a loving and constant source of support throughout his life, but equally she is, very often, in the background.

The show’s music (arranged by Paddy Cunneen) echoes the set’s sparseness: with the exception of a brief serenade from Cilla Black (a fun turn by Jhanaica van Mook), all singing, mainly in the form of football chants and Scottish ballads, was tuneful but bare: there were no harmonies, and occasionally almost a discordance with the instruments. While this is surely an homage to the full-voiced football chants heard at every stadium, the powerful unison of voices also emphasises the intensity of feeling towards Shankly, towards LFC, and towards Liverpool – throughout the play, it’s hard to tell where one feeling ends and the other begins. This intensity is furthered by the script’s wording, with nearly every line containing some sort of “Repetition, repetition, repetition”, as Ness says (repeatedly). It’s an enormously effective device: we the audience feel the weight on Shankly’s shoulders, his appreciation of the fans that hold him in such esteem, the unpayable debt he seems to feel himself in, the unending attempts to improve, to win, to repay. As Shankly, Mullan says, “You play for every man, so you are every man” – this sense of oneness was palpable in the auditorium by the time ‘You’ll Never Walk Alone’ closed out the show, with the chorus of Liverpudlians helping to bridge that gap between cast and audience, between player and fan, between football and city.

‘Red or Dead’ runs at Liverpool’s Royal Court until April 19th, tickets are available here.

Written, directed by, and starring the US-based actor-playwright duo Xloe Rice & Natasha Roland, ‘A Letter To Lyndon B Johnson or God: Whoever Reads This First’ is a true gem hidden in the Soho Theatre’s current line-up.

REVIEW: A Letter to Lyndon B Johnson or God; Whoever Reads This First

Published on by Eva MatthaiouLeave a comment

Rating: 4.5 out of 5.

An […] hour of pure talent and dedication; and the Beatles soundtrack is just the cherry on
top.

Written, directed by, and starring the US-based actor-playwright duo Xloe Rice & Natasha Roland, ‘A Letter To Lyndon B Johnson or God: Whoever Reads This First’ is a true gem hidden in the Soho Theatre’s current line-up. This 2-woman show is an exciting blend of storytelling, physical comedy, and clowning that draws parallels between American Boy Scouts and soldiers drafted in the Vietnam War. Walking into the room and only seeing a black truck tire lying on the floor, you don’t know what to expect – and then you are immediately captured by and hooked on these two highly energetic boy scouts jumping around on stage and blowing in their harmonicas. Over the course of 60 minutes, the actors jump from dialogues to storytelling to short monologues, sharing teenage boy scout-themed moments and stories that smartly reflect on the atmosphere in 60s America under Lyndon B Johnson’s presidency and soldiers’ war experiences.

The show does subtle but clear and well-written commentary on the idolization of influential figures, paralleling LBJ to God, religious relief and guilt, ‘good guys’ versus ‘bad guys,’ military propaganda, and how all these are consumed through the eyes of the innocent teenage mind. There is a nearly perfectly calculated balance of the ambiguity between Boy Scouts and soldiers and between bits jam-packed with energy or comedy and more grounded moments of seriousness, breath, and emotion. The flow is top-notch, fast-paced, quick
back-and-forth, but easy to follow and comprehend. Some clever dialogue and humor make this show an effortless and enjoyable watch; the energy and focus never drop. And as much as you think the profound moments emotionally prepare you, the ending still manages to hit you like a truck.


The use of props is absolutely genius. Jumping on and off that tire and rolling it around on stage looked so easy and effortless, even though it must demand incredible control. And yes – the harmonica playing is all live and absolutely brilliant. However, the true spirit of the show lies in the peak performances by both Rice and Roland. Their comedic timing and physical comedy are wonderful, and still, they manage to switch it off within seconds when needed and deliver beautiful and impactful emotion as well. There is equal focus on both characters and great dynamics, and the actors’ natural charisma makes them entertaining from the very first moment of the show. Yet the highlight above all is the simply phenomenal synchronization between the two. The choreography and blocking are fantastic and well thought-out within itself, but it’s also obviously so well rehearsed. There wasn’t a single slip, and the chemistry and connection was real and exciting to witness. I enjoyed every part of the show, but that’s what left me most impressed.


All and all, ‘A Letter To Lyndon B Johnson or God: Whoever Reads This First’ is an entertaining and dynamic hour of pure talent and dedication, and the Beatles soundtrack is just the cherry on top—a well-made production, an impactful conversation, and a gifted duo that I undoubtedly recommend.

Written by Xloe Rice & Natasha Roland
Directed by Xloe Rice & Natasha Roland
Starring/Cast: Xloe Rice & Natasha Roland

FEATURE: Graeae’s New Writing Festival Celebrates Inclusivity and Groundbreaking Talent

Published on by Tabitha JamesLeave a comment

Graeae Theatre Company is set to host its highly anticipated New Writing Festival at Rich Mix in East London on January 25th and 26th, 2025. As the UK’s national theatre for Deaf, Disabled, and neurodivergent artists, Graeae continues its mission to champion diverse narratives and inclusivity within the arts.

The two-day festival will feature a rich program, including rehearsed readings of full-length plays by Olivier Award-nominee Shahid Iqbal Khan and Lettie Precious, co-directed by acclaimed theatre talents Milli Bhatia and Kate Lovell. Audiences will also experience three specially commissioned short plays from emerging playwrights Jesse Stone, Madeleine Farnhill, and Jordon Grant. Directed by Graeae’s Artistic Director Jenny Sealey OBE and Nickie Miles-Wildin, these works promise bold storytelling, from gothic folktales to poignant explorations of identity and societal challenges.

Star performers such as Jamael Westman (Hamilton), Alexandra James (Sex Education), and Arian Nik (Count Abdulla) headline a diverse cast, alongside panel discussions featuring leading industry voices like Stephanie Bain (Almeida Theatre) and Rachael Young (multidisciplinary artist). These discussions aim to foster dialogue around accessibility and representation in new writing.

Jenny Sealey OBE celebrates the festival as a testament to Graeae’s 40-year commitment to supporting emerging talent. “This festival is a celebration of the skill of our Deaf, Disabled, and neurodivergent writers and the vital role they play in shaping the future of theatre,” she said.

With audio description and captioning integrated into all performances, Graeae ensures the festival is accessible to all. Tickets and further information can be found on the Graeae website. Join this unmissable celebration of innovation, inclusivity, and creative excellence in the heart of London.

Visit www.graeae.org for more details and ticket information.

IN CONVERSATION WITH: Emma Dennis-Edwards

Published on by ayoungishperspective1Leave a comment

We sat down for a chat with Emma Dennis-Edwards about her new project: Writing for Screen: Level 1

What inspired you to design this course, and how does your experience as a writer and actor influence your teaching approach?

I’ve always taught alongside my work as a writer and actor so this designing this course came naturally to me. When I designed this course I thought about all the things that I wish I had learned and experienced when I was starting out, for example I think for a long time I had scripts on my laptop (and in my head) but I’d never heard them out loud, which is why I keen that an element of the course will include a table read. I very much see this course as me working alongside other writers so less teacher/student more peers working together to write a script.  


How do you balance teaching the technical aspects of screenwriting, like treatments and pitches, with fostering participants’ creative storytelling skills?

That’s a great question. I would say it’s a 50/50 split. Everyone has a story to tell, right? So I guess the technical aspects of screenwriting are what most participants come to me wanting to know. But I love fostering their creative storytelling and looking at how we can tell stories in the most interesting way.


Can you share an example of a challenge you faced in the writers’ room or during a project, and how experiences like that shaped the content of this course?

I wrote an episode of medical drama and it was a really hard slog, it was my first television writing commission and the experience was so gruelling and I felt like the editorial team were not aligned and the communication was awful. I simply didn’t feel equipped to deal with it so what I try and create in my classes is a sense of community. We are all writers and we are all now a community and we can lean on each other, share ideas, and solve story and script issues together. I also am very transparent in my content of my courses about the financial, physical and mental struggles that come with being a writer and where and how I have got support.


What can participants expect from the final 2.5-hour session, and how does it build on the skills developed throughout the eight weeks?

The chance to hear their work read out live by professional actors! This is the culmination of them using all the skills they’ve developed over the eight weeks to present an extract of their script that they’re excited and confident to share.


What advice would you give to a beginner writer who’s struggling to turn an idea into a screenplay, and how does your course address that challenge?

The advice I would give is to just write. Allow the story to lead you and go for it- be brave! And that’s what the course is all about, just writing the thing! I offer you skills and advice but at the end of the day its YOU who’s on the other side of the Pen/Computer.

Emma will teach Writing for Screen: Level 1 (Ages 18+) (in person) from Tuesday 21 — 11 March 2024, as part of Guildhall School’s Spring Courses. Find out more and secure your place here. Limited places available.

REVIEW: Stocking Fillers

Published on by ayoungishperspective1Leave a comment

Rating: 4.5 out of 5.

Attention: ensure your stockings are secure! A delightful experience awaits you with these 7 bitesize plays!

“Stocking Fillers” recently graced the stage at Liverpool’s Court Theatre, showcasing a talented cast that included Tasha Dowd, Lynn Francis, Elliott Kingsley, and Joe McGann. The performance was a delightful medley of seven ten-minute plays, each infused with humour and holiday spirit. The titles of these charming segments—”Mince Spies,” “Party Time for Jesus,” “Corned Beef Hash and Runny Eggs,” “Saved by The Jingle Belle,” “The Death of Christmas,” “Santa Baby,” and “A Christmas Lift”—foreshadowed the light-hearted yet poignant experiences that awaited the audience.

The theatre was packed to capacity, buzzing with excitement. Before the curtain rose, I witnessed the actors warmly interacting with attendees, creating an inviting atmosphere that set the tone for the evening. The show commenced with “A Christmas Lift,” where Lynn Francis quickly captivated the audience with her commanding stage presence and a character that cleverly blended assertiveness with adult humour. The performances resonated with the audience, each delivering significant life lessons wrapped in laughter.

One standout piece, “Corned Beef Hash and Runny Eggs,” had an entertaining twist involving several Terry’s chocolate oranges, drawing guffaws from the crowd. Joe McGann’s compelling performance portrayed a classic ‘Scrounge’ character at Christmas, initially embodying comedic traits. Yet, as the narrative unfolded, layers of his character were peeled back, revealing a grieving husband navigating the emotional landscape of loss during the Christmas period. This poignant moment came to life as he conversed with his daughter, who gradually understood that he cherished his time spent reminiscing about his late wife. The scene beautifully balanced humour with heartfelt emotion, underscoring the essence of kindness and empathy that the festive season encourages. 

Tasha Dowd brought delightful flair to the stage in “Mince Spies,” adopting a captivating German/Irish accent that enchanted the audience. This performance resonated especially with the Liverpool crowd, as it evoked vivid imagery of the local Christmas market, steering the atmosphere toward a communal experience that felt deeply rooted in their hometown.

In “Party Time For Jesus,” Joe McGann once again stole the show with an outstanding portrayal of a mischievous character scheming to exploit Jesus for personal gain. His high-energy performance, complete with a range of expressive facial reactions, sent waves of laughter rippling through the audience, further enriching the festive mood.

The staging displayed impressive craftsmanship; the actors executed quick costumes and set changes that kept the flow of the show seamless. Each costume was vibrantly adorned, contributing to the overall Christmas aesthetic. 

As the show neared its conclusion, the narrative full circle returned to the image of the Christmas lift, tying all the performances together in a meaningful way. At the finale, the cast invited the audience to join in a festive sing-along, enhancing the celebratory spirit of the event. The songs cleverly referenced each of the short plays, further solidifying the connection to the stories shared that evening.

For anyone eager to experience this holiday delight, tickets are available during the week at 1:30 PM or 7:30 PM. I highly recommend securing your seats as soon as possible—this is a show you won’t want to miss!

REVIEWER: Hannah Davison

FEATURE: Dylan Mulvaney joins West End premiere for WE AREN’T KIDS ANYMORE

Published on by ayoungishperspective1Leave a comment

Award-winning actress Dylan Mulvaney (Attitude’s Woman of the Year 2023; Forbes 30 Under 30; FAGHAG) will be joining Sam Tutty and Aimie Atkinson for the premiere of Drew Gasparini’s new contemporary musical WE AREN’T KIDS ANYMORE at the Savoy Theatre on Monday 28th April 2025.

Dylan Mulvaney, who recently marked her 1000th Day of Girlhood, has captivated audiences worldwide with her star power and inspiring journey. Now set to inject an electric energy into an already exceptional cast, Dylan will bring her own perspectives and experiences to this deeply profound production, which navigates universal themes of growth, self-discovery, and the dreams that define us.

From celebrated composer Drew Gasparini (Smash; The Karate Kid; It’s Kind of a Funny Story), WE AREN’T KIDS ANYMORE builds on the success of the viral concept album of the same name. This groundbreaking musical weaves together pop, rock, and country influences in a tapestry of stories.

Tickets can be purchased here.