This interactive workshop, created in association with the Lyric theatre, explores ways to access and engage with Shakespeare in the classroom using a series of practical-based exercises that focus on overcoming the linguistic and thematic challenges presented in A Midsummer Night’s Dream.
In this powerful and transformative session, acting coach and founder of the Audition Doctor, Tilly Blackwood, helps two aspiring actors bring their chosen speeches from Nick Payne’s Constellations and William Shakespeare’s Measure for Measure to life.
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.
This unique and exclusive documentary opens the door to life at the Lyric Theatre in Hammersmith, west London, during summer and autumn 2017. DT+ goes behind the scenes to access all areas of the company, from their extensive young people’s programme to the key planning stages for their main house production of Anton Chekhov’s The Seagull.
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.
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.
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.
Writer and director Polly Teale discusses her experience of dramatising the lives of the Brontë sisters, elaborating on the challenges they faced as women in the 19th century and examining the representation of their inner worlds through their work.
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.
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.
Jonnie Riordan, Associate Director of Frantic Assembly's Things I Know To Be True, takes you through six warm-up exercises and provides detailed aims and instructions for use in the classroom. The exercises vary from a fun 'keepie uppie' introduction, through to more demanding cardio and circuit training sessions, all of which are geared towards developing teamwork, stamina, physical confidence and focus.
Oswald explores the symbiotic responsibility of opening the play to an audience in soliloquy, inviting them as friends on a shared journey, while coming to terms with and conveying the emotional singularity of her own story.
Barker outlines his process of learning to play a son, a daughter, a brother and a sister, within the precincts of the same character. He discusses the edifying journey through language, science and autobiographical illustration, which allowed him to sit comfortably in playing the understanding that there are as many stories about transition as there are people who experience it.
Mylan reads Things I Know To Be True as a continuous crisis point for Ben, an impending train wreck, hurtling towards a catastrophic act of envy and selfishness. He describes developing Ben’s character by learning his extremes, before pulling back to something stiller to internalise that turmoil, and explains that every moment of the production is intensely physical, even in its stillness.
Artistic Director of Frantic Assembly, Scott Graham, discusses the collaborative process of working with writer Andrew Bovell on Things I Know To Be True, and how he came to incorporate a physical language into the production.
“The writer is the thing. Sometimes I feel that I haven’t really earned the accolades – I didn’t write it, I’m only saying it out loud really. But when those big parts come along you do have a huge responsibility, and I will rise to that because I am my worst critic... So it's exhausting doing theatre, but wonderful.”
Michael Grandage explains, to Digital Theatre+’s Fiona Lindsay, why he dislikes the term ‘revival’, how an old play must become new for a company to ‘crack’ it, and talks of bringing current work into perspective through the past.
Matt Adams is a co-founder of Blast Theory with Ju Row Farr and Nick Tandavanitj. This interview by Professor Andy Lavender, author of Performance in the Twenty-First Century, is a fascinating discussion of the company’s inception; its unique experiments with interactive media, theatre and location-based games; and its working processes and creative practices.
Tim Etchells, founding collaborator of Forced Entertainment, talks to theatre critic and journalist Matt Trueman about a 30-year process of trying to reinvent the theatrical experience in a way that can get past an audience’s defences, implicate them, involve them and allow them to form their own imaginative connections, beyond the ‘tyrannous architecture of narrative’.