Written for Everything Theatre

As most theatregoers will be aware, theatre people are a superstitious bunch. For good reasons too: throughout history being involved in performance, especially as an actor, has come with its own unique set of dangers and difficulties. From being thrown out of the 15th century church to being thrown into the 21st century job market, life on stage is full of insecurities. It’s no wonder then that it’s often been tried to somehow reduce that insecurity. Below you’ll find a number of tried and tested methods.

Last weekend I started doing some preliminary research for a weekend trip to Amsterdam I’m going next month. As the only Dutch person in the group, it seemed sensible that I would be the one making the travel arrangement and, more importantly, find some interesting theatre shows to see.

Two weeks ago I had the wonderful opportunity to go to Berlin with some of my course mates and see a few shows at the annual Theatertreffen, a festival that brings theatre companies from different countries together in one programme. It was a great experience, not in the least because the performances were radically different from the stuff you generally encounter on the London stages. For starters, two of the four shows we saw weren’t actually about anything at all. And I don’t mean that in a Beckett, ‘I can see some meaning if I squint really hard’ kind of way. They really, really were outright nonsense. And, to my great surprise, I absolutely loved them.

Written for Everything Theatre

The UK has a long history and strong traditions when it comes to theatre, and those still make their mark on London theatre today. On the other hand, London is a metropolis with a wide variety of international influences, so it's not surprising that this too is reflected in the theatre on offer. From the steady influx of Broadway hits to the less familiar productions LIFT will put on in June, the capital is constantly buzzing with theatre from all over the globe. An important role in this international ecosystem is played by London's many drama schools, that attract future actors, directors, playwrights and researchers from all over the world. To find out what drives them to come here, I spoke to a few MA students at the Royal Central School of Speech and Drama.

It has been some time in coming, but the NSA has arrived in the West End. Or at least, on stage (in real life they have probably been there for ages…). I’m referring of course to James Graham’s new play Privacy, which is currently showing at the Donmar Warehouse. Where Privacy sees a big crowd come under the scrutiny of a select few, the Royal Court has the exact opposite on offer: Simon Stephens’ Birdland shows the effects international superstardom can have on one person. Two ends of the scale, but one question: how does the knowledge that we’re being watched change us?