Celebrated director and scenographer Pamela Howard gives a history of scenography in practice, including insights into the early days of the Prague Quadrennial. She explores the political and artistic importance of international collaboration and discusses in detail her seminal book, What is Scenography.
In this fascinating discussion, Artistic Director of Tara Arts Jatinder Verma covers everything from ethnicity and migration to pantomime and verbatim theatre. Verma considers how classic texts can be reworked for contemporary audiences and concludes by explaining how Black Theatre Live enables and empowers artists to find a space for their work.
Writer Daniel Rosenthal discusses the various ways to analyse and engage with Shakespeare’s The Tempest in three different stages: reading, watching and writing about the play.
James Graham explores how his own life has inspired and influenced his writing and explains how he uses curious events from history to shed new light on the world in which we live today.
In intimate detail, Michael Frayn describes how his research process unfolds when writing a new piece work, with particular reference to his historical plays Copenhagen, Democracy and Afterlife.
Through the prism of four key plays - Dealer’s Choice, Closer, Howard Katz and The Red Lion - Patrick Marber gives intimate insight into his life and career, from his early days experimenting with comedy at Oxford to becoming an Olivier Award-winning playwright.
Willy Russell shares what he has learnt about what it takes to write a play with fascinating insight into his own life and career. He explores several of his key works in vivid detail, including Educating Rita, and gives a reading from Shirley Valentine.
Having been named one of the most influential people in British theatre, Vicky Featherstone discusses her path to success, from her role as Artistic Director of touring company Paines Plough to leading the National Theatre of Scotland and her current position with the Royal Court Theatre in London.
Playwright and novelist Barney Norris, whose recent work includes Nightfall at Nicholas Hytner’s Bridge Theatre, gives an honest depiction of his experience as a young writer, from studying English Literature at university to working with British theatre company Out of Joint.
John Godber, one of the most performed playwrights in the UK, delves into his process for creating work that focuses on the plight of individuals who suffer judgement and misfortune as a result of class prejudice.
Writer, actor and director Patrick Barlow provides a unique insight into his theatre-making process, from the creation of his comedic double-act The National Theatre of Brent to the physical and fast-paced adaptation of the Alfred Hitchcock film and John Buchan novel The 39 Steps.
Writer Andrew Davies, best-known for adapting some of literature’s greatest novels for television, such as Jane Austen’s Pride and Prejudice and Leo Tolstoy’s War and Peace, discusses the cinematic potential of language and the process of bringing words to life on screen.
British writer Lee Hall discusses the processes for creating some of his most popular works, such as the ground-breaking radio drama Spoonface Steinberg, the play of The Pitmen Painters based on the Ashington Group, and the film and musical adaptation of Billy Elliot.
In this inspiring and extraordinary exchange of ideas, Professor Carol Chillington Rutter, editor of Clamorous Voices: Shakespeare’s Women Today, revisits the seminal book with one of its most celebrated interviewees, Harriet Walter. With reference to Walter’s subsequent career and, more recently, her foray into playing male roles, the two explore Shakespeare’s characters and plays in fascinating detail.
Playwright Tanika Gupta discusses her writing process, inspiration and passion for adapting Meera Syal’s semi-autobiographical novel, Anita and Me, as well as exploring her career progression from radio dramas to stage plays.
Diane Samuels takes an in-depth look at her award-winning play Kindertransport, exploring how real-life people and experiences helped to inspire its creation, and considers the importance of telling female stories.
Simon Godwin, Associate Director at the National Theatre, unravels the intricate layers of Pat Barker’s Regeneration and discusses his directorial intentions for staging Nicholas White’s adaptation at the Royal & Derngate theatre, Northampton, in 2014.
Professor Kate McLuskie, former Director of the Shakespeare Institute, leads two directors – Lucy Bailey and Phillip Breen – and two actors – Ray Fearon and Zoe Waites – in an in–depth discussion of gender with reference to Julius Caesar and As You Like It.
Professor Kate McLuskie, former Director of the Shakespeare Institute, leads two directors – Lucy Bailey and Phillip Breen – and two actors – Ray Fearon and Zoe Waites – in an in–depth discussion of love and sex with reference to Romeo and Juliet, The Taming of the Shrew, Othello and A Midsummer Night’s Dream.
Professor Kate McLuskie, former Director of the Shakespeare Institute, leads two directors – Lucy Bailey and Phillip Breen – and two actors – Ray Fearon and Zoe Waites – in an in–depth discussion of family with reference to Macbeth, King Lear and The Merry Wives of Windsor.
Professor Kate McLuskie, former Director of the Shakespeare Institute, leads two directors – Lucy Bailey and Phillip Breen – and two actors – Ray Fearon and Zoe Waites – in an in–depth discussion of conflict with reference to Titus Andronicus, King Lear and A Midsummer Night’s Dream.
In this personal account of his life and work, Thomas Richards talks about art, identity, his time as a student at Yale University, his apprenticeship with Jerzy Grotowski, and his eventual inheritance of the Workcenter in Pontedera, Italy.
Kirsty Oswald discusses playing the youngest Price child, Rosie, in Frantic Assembly’s Things I Know To Be True. Kirsty talks about the family that developed through rehearsing the play, the physical and emotional exhaustion that the production provokes, and describes the movement of the piece as loving familial support made manifest.
Matthew Barker plays Mark and Mia in Frantic Assembly’s production of Andrew Bovell’s Thing I Know To Be True. Matthew discusses the extensive research into, sincere approach towards and delicate examination of gender dysphoria that characterised the play’s and the company’s storytelling, from first read-through, to audience response.
Richard talks about playing ‘Mummy’s boy’ Ben Price in Andrew Bovell’s Things I Know To Be True. He discusses how an actor’s ‘track’ is as much physical as mental, why hitting peak energy can be easier in the throws of performance than rehearsal, and his conviction that experiencing the Frantic Assembly method would better any performer.