Class is a hard-hitting performance of raw storytelling that interrogates the disparity between Britain’s haves and have nots through the experiences of Scottee, the show’s writer and sole performer.
It’s official; we have now reached the zenith of the ‘Radio 4 joke’ – a joke so high-brow that only a handful of a crowd of keen Radio 4 listeners let out a knowing chuckle at the Storyhouse in Chester.
If you want army combat gear, trance music, bloodshed and humour, Manchester’s Macbeth is for you.
The Jumper Factory starts with an announcement. The six young actors, who have been seated on chairs lined across the stage, bring their legs together and unclench their hands, rise from their chairs, and begin to chant as one.
“This could be Rotterdam or anywhere, Liverpool or Rome, ‘cause Rotterdam is anywhere, anywhere alone.”
In light of the first co-production between the National Theatre of Scotland and HOME, we talked to Jackie Kay about her memoir, its stage debut and how much she loves Manchester.
Little Miss Sunshine brightened the entire room’s spirits on opening night at the Lowry, bringing just as much charm and character to the stage as it did on the big screen.
Internationally celebrated choreographer Hofesh Shechter and his company displayed a striking piece of apocalyptic dance performance on Wednesday evening at HOME.
As part of the year-long programme Celebrating Women in Global Cinema, HOME ran a season this May focusing on women’s activism and involvement in trade unionism: Women, Organise!
It has to be said, it’s been a great few months for women on screen since THAT Game of Thrones episode, Fleabag, Derry Girls, Killing Eve, Back to Life – if you’ve not seen it, add it to the list.
Spider-like and wretched, Tom Mothersdale’s Richard III practically crawls across the stage. Every body movement signals his grotesque nature.