Your week of podcast listening:
Jen Harvie talks with performance maker and artist Scottee whose work consistently addresses the experiences of being an outsider – affected by class, race, and/or sexuality. We discuss his move from London to the Essex seaside, mental health, neurodiversity, hospitality, and class, and how all these things relate to his performance, especially Bravado, which is touring in 2017.
From taking The Strange Undoing of Prudencia Hart on a tour of pubs to putting Charlie and the Chocolate Factory on Broadway, David Greig is one of Britain’s most wide-ranging and prolific playwrights. Since 2016, however, he has also been in charge of Edinburgh’s Royal Lyceum. What happens when a playwright becomes an artistic director? What has he learnt about running a repertory theatre? Does he take responsibility for the race and gender balance on stage? And where is he most at home: on Broadway or on a scratch cabaret night?
In this episode Dan talks to Nadine Holdsworth and Chris Megson about British theatre and Brexit. He reports from an academic conference in Reading and ask, what are academic conferences for? And he talks to Aoife Monks about something she’s seen and something she’s read.
How does culture shape the character of a neighbourhood, a city, a country? They speak to visual artist Jeremy Deller, DJ Dave Haslam and celebrate the NT’s River Stage festival by looking at art in public spaces, and the impact it’s had on the people who pass through them.
Journalist Paul Mason pops in to the Young Vic to talk about his play about revolution and the networked generation, Why It’s All Kicking Off Everywhere, based on his acclaimed book.
Introduction by Simon Stephens:
“April De Angelis has been writing for the theatre since the mid –eighties. Starting her career as an actor for the significant feminist theatre company Monstrous Regiment, she wrote her first play Breathless in 1987. Since then she has applied her ferocious spirit of enquiry and crackling wit to over twenty plays that have been produced widely in Britain’s most important theatres and throughout the world”
Her first play produced at the Royal Court, Hush, directed in 1992 by Max Stafford Clark, explored the political and psycho-dynamics underpinning the disappearance of a fifteen year old girl. It was, she said at the time, an attempt to consciously move away from the didacticism and certainties of some of her earlier feminist plays. Since then I think she has explored the gaps between her political commitments to gender equality and the contradictions and uncertainties that define her characters experiences. Her 2005 play Wild East was a savage surreal exploration of the capitalism of an office workplace. Her play Jumpy, produced at the Royal Court in 2011, is something of a modern classic. It puts the relationship between a woman and her daughter at the heart of an exploration of the nature of identity in this century and explores and interrogates a generation of women who might identify themselves as post-feminist.
She is a prolific theatre maker. She has engaged in adaptations and written libretti, she has written plays staged at the Theatre Royal Haymarket and is as likely to write short plays for the Theatre503. The range and energy of her work is unified by her intelligence and her spirit of enquiry and her caustic, self deprecating wit.”