Skriker Platform

The theatre producers Rift are holding a 1990s Season at Styx in Tottenham. It includes productions of Sarah Kane's Blasted, Anthony Neilson's Normal, and Caryl Churchill's The Skriker, alongside an adaptation of three episodes of the quintessential 90s sitcom Friends (as Mates) and a wealth of screenings, discussions, rehearsed readings, and club nights.

I'm contributing in a small way by being part of a discussion event about Churchill and The Skriker. My fellow panellists are Jen Harvie and Max Stafford Clark. Jen is currently writing about feminist theatre makers and has been working on Churchill. Max, of course, directed the premieres of several of her most important plays, including Cloud 9, Top Girls and Serious Money. So it should be a good discussion.

The panel is on 29 March after the show and you can get tickets for that and the rest of the season HERE.


Beachy Head Revival

My play Beachy Head, written with Lewis Hetherington and Emma Jowett is being revived in Edinburgh by the Edinburgh Graduate Theatre Group. It's on this week from Wednesday 30 November to Saturday 3rd February. It's at the Assembly Roxy, 2 Roxburgh Place, EH8 9SU. You can book tickets here.

We wrote it for Analogue theatre company as their second production and a follow-up to the very successful Mile End. It was quite a bumpy ride as a creative project though the resulting show is very robust and Lewis, Emma and I did some pretty great dramaturging work before drafting and redrafting it in semi-seclusion in a house somewhere (borrowed from someone's uncle I seem to recall). The show is about suicide, neuroscience, documentary, responsibility and loss. And if that doesn't get you into the theatre, what will?

I won't be able to see it, alas, so if you go tell me how it was.

UPDATE: Here's a review by Thom Dibdin and very good it is too:

Theatre & Darwin

I reviewed Kirsten Shepherd-Barr's Theatre and Evolution from Ibsen to Beckett (New York: Columbia University Press, 2015) for Contemporary Theatre Review and the review is here. The book  surveys the influences of Darwinian and post-Darwinian debates on theatre since Ibsen and I think it's rather fascinating. There are some really interesting discussions of Eleanora Duse's reputed ability to blush at will and what is meant by the complicated debates around the representation of childbirth and breastfeeding on stage. The book also manages to say something new about Ibsen and Beckett, for which there should be some sort of cash prize.

Anyway, I recommend it, if you're interested in the intersection of science and theatre.