Category Archives: Stage

‘It’s the balm we need right now’: how Broadway fought its way back

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The long theatre shutdown in New York has taken its toll on the industry but a renewed and reinvigorated outlook towards diversity could have a major impact

When Ruben Santiago-Hudson walks on stage at the Manhattan Theatre Club on Tuesday night, the electric charge between actor and audience will spark back to life. Then the healing will begin.

“It is the balm that we all need right now, not just on stage, but in our city,” says Santiago-Hudson, writer, performer and director of Lackawanna Blues, one of a record seven works by Black playwrights opening on Broadway this autumn. “It’s a necessity, it’s in us as human beings. Theatre has always been the great gathering place – church and theatre.”

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Sarah Harding, singer with Girls Aloud, dies aged 39 from breast cancer

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Fans and figures from show business pay tribute to pop star who was diagnosed in August 2020 and wrote memoir during her illness

The pop singer and TV personality Sarah Harding, who had 21 UK Top 10 singles as a member of Girls Aloud, has died aged 39 from breast cancer.

Her mother, Marie, announced her death on Instagram, prompting a flood of tributes from fans and figures from show business. Geri Horner, the Spice Girls singer and a judge on the TV talent show that created Girls Aloud, wrote: “Rest in peace, Sarah Harding. You’ll be remembered for the light and joy you brought to the world. X”

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Josephine Baker to become first Black woman to enter France’s Pantheon

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Performer who became part of the French resistance will be moved to the mausoleum in November

The remains of Josephine Baker, a famed French-American dancer, singer and actor who also worked with the French resistance during the second world war, will be moved to the Panthéon mausoleum in November, according to an aide to President Emmanuel Macron.

It will make Baker, who was born in Missouri in 1906 and buried in Monaco in 1975, the first Black woman to be laid to rest in the hallowed Parisian monument.

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Jade Hackett on hip-hop dance: ‘Black joy is just as powerful as protest’

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The choreographer felt the urgent need to bring happiness and relentless fun to the weekender she has curated for the Southbank Centre’s Summer Reunion series

‘With the year we’ve had, we just needed people to have insanely, intensely engrossing, almost relentless fun,” says choreographer Jade Hackett of the weekender she has curated for the Southbank Centre’s Summer Reunion series. Working with music producer DJ Walde under the umbrella of ZooNation dance company, Hackett is taking over the Thames riverside terrace for a free mini festival, three days celebrating UK hip-hop culture, and just celebrating full stop, having been starved of live shows and social occasions during the pandemic.

“It’s the first stepping stone to reintegration, bringing people together in a really safe way,” she says. “We’ll kick it off with music by Afrika Bambaataa, Earth, Wind & Fire, Stevie Wonder, that’s the vibe; awesome social dances, the electric slide, Soul Train lines, it’ll be super fun.” Audiences can watch dance battles and performances from the likes of female popping collective AIM and Afrobeats dancers HomeBros, but there’s an emphasis on participation, with a series of workshops covering dance from the 70s, 80s and 90s as well as newer styles such as Litefeet. There are daytime family activities and evenings dancing to DJ collective The Midnight Train playing garage, grime, house, R&B, hip-hop and soca – a little carnival fix for those feeling the gap left by the cancellation of Notting Hill carnival for the second consecutive year.

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‘My theatre went dark’: Amanda Kloots on loving and losing actor Nick Cordero

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The Broadway favourite, who died of complications from Covid last summer, is remembered by his wife and co-star

When you’re on Broadway and suddenly find out that your show is closing, you feel this wave of sadness. As a cast member, there was nothing you could have done to save it. You didn’t write the script; you didn’t call the shots. You just had to show up, and smile, and dance, and perform, and give it your all every day. Your cast has become like your family, the theatre like your home, and your dressing room like your own personal bedroom in that house, your space filled with photos, cards, and memories. After your last show, you have to take that all down, pack everything into a box, and walk out of the theatre as it goes dark.

Related: Nick Cordero: Broadway star dies aged 41 of coronavirus complications

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Pose star Sandra Bernhard: ‘I never tried to be revolutionary. That’s just who I was’

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The trailblazing actor and comedian on asserting her bisexuality in the 80s, misogynistic male comics – and befriending Madonna

During nearly five decades in showbiz, Sandra Bernhard has racked up title after title – comedian, actor, singer, author, radio host – and a reputation for controversy. She has worked with a long list of superstars, from Richard Pryor and Robin Williams to Robert De Niro and Cyndi Lauper. But she has never been overshadowed; her force of personality has guaranteed that. Even 30 years ago, the Los Angeles Times was paying homage to her “acid-tongued, antagonistic persona”.

But there are no cutting remarks today. On this sunny morning in LA, she appears relaxed, in a pink-striped shirt and trousers, reminiscent of the early 80s outfits she wore for her many appearances on Late Night With David Letterman.

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Russell Tovey: ‘Queer people in my generation have section 28 in our blood’

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As he hits the stage in Constellations, Tovey talks babies, what he’d say to Oliver Dowden and why he finally understands The History Boys

Russell Tovey is trying to lick his elbow. It’s a ritual every performer has to go through in the opening scene of Nick Payne’s play Constellations – the response to a flirtily issued challenge from a stranger – but it seems particularly suited to someone whose physical presence combines goofiness and sex appeal in equal measure. The resulting ripple of laughter in a packed house feels mildly alarming after months of social distancing, but for Tovey it’s a reassuring sign of a return to normal. “It hasn’t felt as alien as I thought it was gonna be,” he says, adding that gaps between seats could feel “like you’re playing to a show that hasn’t sold that well”. Judging by the queues outside, there’s little danger of that.

We meet the next day at the bottom of a lightwell in the middle of a rehearsal studio in Covent Garden. It’s technically outside, which is better for Covid, the PR assures us – a reminder that normal is, in fact, some way away. Tovey is dressed in grey chinos and a darker sweater that chime with his now more-salt-than-pepper hair. The erstwhile History Boy is turning 40 in November (he played sixth-former Rudge in the Alan Bennett hit at the age of 23), though he still somehow manages to look younger than his years. The run-up to this milestone obviously hasn’t panned out as expected. In 2020 he was supposed to be on Broadway, performing in Who’s Afraid of Virginia Woolf? alongside Rupert Everett, and, as he told one interviewer, “putting the feelers out” on how to have a baby.

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Peaceophobia: Muslim men who love their modified motors

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Mistaken for drug dealers? Monitored by police? A new play staged in a Bradford car park weaves stories of everyday racism, faith and petrolheads


“I don’t go out, I don’t really go clubbing, I don’t drink, I don’t do none of that,” says Sohail Hussain, who is explaining how all encompassing his hobby is. “All my money goes on cars – for me it’s an investment.”

Hussain is one of three actors starring in Peaceophobia, a piece from collaborative theatre company Common Wealth and Fuel that interweaves stories about Islam, faith and modified car culture. Set in a car park in Bradford, the three drivers – Casper Ahmed, Mohammad Ali Yunis and Hussain – chat pistons and prayer over the constant hum of engine noise and tension.

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Edinburgh Fringe returns with mix of in-person and online shows

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Festival is part of world’s largest annual arts season which has been forced to curtail events due to Covid

The Edinburgh festival Fringe returns this weekend with a hybrid programme of nearly 800 in-person and online shows after its cancellation last year because of the coronavirus pandemic.

The Fringe makes up part of the world’s largest annual arts season, alongside the Edinburgh international festival and the book and film festivals, which open later this month, and all have been forced to significantly curtail this August’s events for the second year running. One of the most famous, the military tattoo staged at Edinburgh castle, has again been cancelled.

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Lily Allen: from chart-topping handbag kid to the heart of London’s West End

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The singer is back in front of a live audience this week, playing ‘a woman with a real point of view’ in a spooky new play, 2:22 – A Ghost Story

There, in the background, wearing drop pearl earrings, is 13-year-old Lily Allen dressed up as a little lady-in-waiting. Cinema audiences watching Cate Blanchett as Elizabeth when the film of that name came out in 1998 might have been concentrating on the queen’s courtly dancing in the middle of the frame, but yes, it really was Allen playing a mini royal favourite in director Shekhar Kapur’s lavish production.

Now, more than two decades later, the 36-year-old singer-songwriter is taking centre stage as an actress in the West End, appearing in a spooky new play, 2:22 – A Ghost Story, which opens this week.

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‘I have a scene to do, run!’: backstage at Minack Theatre

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Our photojournalist explores the famed outdoor venue in Cornwall as it welcomes back full houses

“I knew of it from pictures I’d seen online and I thought it looked pretty, but when you arrive and see it yourself, it’s like, ‘Oh wow, this is insane,’” says actor Guido Garcia Lueches about the Minack Theatre. “It’s probably the best theatre I’ve ever performed in.”

Carved largely by hand into a craggy, granite cliff-face, the dizzying outdoor venue on the south coast of Cornwall looks magnificent in the summer sunshine. Tiers of subtropical foliage splash colour throughout the landscape and weathered concrete seats bearing the titles of past shows rise abruptly from the stage. The ocean, 100ft below, looks an enticing shade of turquoise.

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Jackie Mason: compellingly blunt joke-teller who was part of standup history

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Though in later years he fell from fashion, his rabbinical style in early routines felt very much like live comedy’s native tongue

If Jackie Mason could speak to us now, he’d surely be reporting back on the amusing ways in which Jews do the afterlife. But if we’ll never get to hear that particular hot take (“If it’s in the news,” he used to say, “it’s in the show”), in his long career in comedy Mason made sure to cover his people’s every other trait and proclivity. If anyone ever doubted that Jewish America had created standup comedy as we now know it, Mason – born Yacov Moshe Maza – stood as living proof.

That’s part of what made his shows compelling long after his opinions curdled and his comedy fell from fashion. The theatres he played in were like Tardises spinning us back to the so-called Borscht Belt of the Catskill mountains in the 1950s, where Jewish America spent its summers laughing at Sid Caesar, Milton Berle, Jack Benny – and Mason himself, who worked as a busboy and a lifeguard there before turning his hand to jokes. He was good at them, so he quit working as a rabbi – a career path followed by his three brothers and all their male forebears – and the rest was comedy history.

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Lockdown reawakened my childhood love of chess. Now I can’t do anything else | Phil Wang

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The alert I get when an opponent has made their move gives me the shot of excitement I used to get from social media notifications

Lord help me, I am in the whirlwind throes of the beautiful game. Online chess. The ancient pastime enjoyed a boom late last year. And I got caught squarely in its blast. Chess.com, the internet’s leading chess platform, saw an eruption in activity, triggered by lockdown idleness and (my own personal inciting event) Netflix’s The Queen’s Gambit, which landed in October 2020, and showed the world that chess is actually really cool. As long as you ignore the actual chess and focus instead on the narcotic-fuelled psychodrama of a very beautiful woman and put the kid from Love Actually in a cowboy hat, for some reason.

But there was enough actual chess in the show to reawaken my old love for the game. I’d played a lot as a child, as you can probably tell from my face. I played in the school club and entered competitions. I collected sets, including a Simpsons one and a Lord Of The Rings one, allowing me to play the pieces from one board against those of the other. No, I didn’t go out much as a kid. But how could I when I was busy battling the dark forces of Sauron with an army of Barts?

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Fiona Shaw: ‘I got to Hollywood at 28 and they said: You’re very old’

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The thrilling star of stage continues her TV takeover. As she joins mercilessly dark drama Baptiste, Shaw talks about Fleabag, American burnout – and marriage as a cure for chaos

There is a man outside, doing something to the windows of Fiona Shaw’s house in London, and he appears to be following her from room to room. No sooner has she laughed, apologised, picked up her laptop (we’re speaking on Zoom) and sought peace elsewhere than – scrape, tap – the top of a ladder appears again, and his face looms behind her.

No wonder. I feel like following Shaw around everywhere too. She is such fun, bracing company. She can swing from references to Freud to word-perfect renditions of Yeats lines learned in childhood, and makes some lovely observations: describing lunch with Phoebe Waller-Bridge, she says the Fleabag creator is “like April or May. She’s blossoming on all fronts, all her fingers are light green.” Even the man working on Shaw’s windows is likened to something out of Rapunzel. She seems to delight in everything.

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Gina Yashere on riches, racism and US success: ‘I don’t like to boast, but I’m doing very well!’

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The standup’s new memoir traces her London childhood and battle for recognition in the UK. She discusses coming out, moving to the US and making it big

It is 14 years since Gina Yashere walked out on Britain. The standup comic was sick of accepting second best. It’s not that she wasn’t successful – she was. She had a recurring slot on the BBC’s Lenny Henry Show between 2004 and 2005, sold out theatres when she toured and was a regular guest on the TV panel show Mock the Week. But it wasn’t enough. She felt that any number of less-talented standups had their own TV shows, while she was always on a promise that never materialised. And it was beginning to destroy her. So she packed her bags and headed to the US, where she was an unknown.

“I always knew I had something special, and I wanted to swim with the big boys. I’m not going to stay in England begging for crumbs,” she says. “To get off my arse and start again, knowing it may take me years to get recognition, if any – you’ve got to have a pretty astounding amount of self-belief to do that.” And, to be fair, she did have. “I wasn’t doing it in the way Ricky Gervais and Russell Brand were doing it, where they were coming off hit shows in England, and coming over to America already recognised, with their faces on billboards. Nobody knew who the fuck I was, and I literally started again, doing open mics, performing wherever I could.”

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Meet Little Amal, the puppet girl refugee about to walk 8,000km

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Later this month, in one of the most ambitious live artworks ever staged, a giant puppet will trek from the Syria-Turkey border to Manchester, in a moving-theatre show of solidarity with asylum seekers

On the last Tuesday of July, a big little girl will step out into a Turkish city, a few miles from the Syrian border, to begin an 8,000km trek to Manchester. Little Amal is nine years old and is searching for her mother, who went off to find food and never returned. She is the central, and only, character in a spectacularly ambitious theatre project. The Walk will face down international Covid restrictions in a visionary act of solidarity with the plight of refugees, defiance of the borders that put their lives in danger, and belief in the humanity of ordinary people faced with a global humanitarian crisis.

Little Amal’s intercontinental odyssey will be hard to miss in the eight countries whose borders she will cross between July and November, because she is 3.5 metres (nearly 12 feet) tall. She’s a puppet, who will be enabled to make her epic walk by relays of puppeteers, several of whom are themselves refugees. She will bear a single message, on behalf of all the thousands of displaced children who will come out to meet her along the way: “Don’t forget about us.”

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‘Drag is political’: the pioneering Indian event uniting art and activism

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Artists from traditional communities and new wave performers to come together online for the country’s first drag conference

Two years ago, in early June 2019, a young man stepped on stage at a small cafe in the south Indian city of Hyderabad to sing Lady Gaga’s hit song Born This Way. He had chosen that song for the line “don’t be a drag, just be a queen” because this would be his first public performance as a drag artist. He had expected no more than a handful of people to turn up for this show with two other drag artists, but as the evening progressed, the cafe filled with more than 500 people. In a conservative city like Hyderabad, that was a huge surprise.

It has been a long journey for Patruni Chidananda Sastry, who began to learn classical Indian dance at the age of five. Now 29 and working as a business analyst, he performs Tranimal – a postmodern drag concept born in Los Angeles in the mid-2000s – and more conventional drag using the avatar of SAS (Suffocated Art Specimen – how he describes himself). On 25 June he is organising the first drag conference in India, as part of Dragvanti , his online initiative to bring together drag artists from across the country.

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Bard day’s work: what I learned from eavesdropping on RSC rehearsals

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The Royal Shakespeare Company is letting the public watch the usually secret processes towards performance – from clapping games to verse sessions

The creative process normally takes place behind closed doors. But the RSC has boldly upended that idea by streaming its Open Rehearsal Project for Henry VI Part One. What this means, in practice, is that cameras are admitted for three sessions each day. At 10am we watch a half-hour company warm-up. From noon, for 90 minutes, we get to see either a class (movement, combat, verse-speaking) or the rehearsal of a scene. Then at 6pm we eavesdrop on a green-room chat, in which company members mull over progress so far. After dipping in and out for the first fortnight – and there’s still more than a week to go before a streamed performance on 23 June – I’m intrigued by how much I’ve learned.

But are open rehearsals a good idea? There was a pivotal moment when Gregory Doran – who shares direction of the project with Owen Horsley – quoted a letter he’d received from an actor who said “the rehearsal room is sacrosanct – actors must not be exposed like this”. I spoke to a veteran actor who said she too was horrified by the idea of the public witnessing the trial and error that takes place in a rehearsal room.

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Romeo and Juliet remixed: how technology can change storytelling

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With the touch of a button, a Sydney Opera House audience rewrites Shakespeare as it is performed in front of them

On Sunday, as part of the Sydney Opera House’s UnWrapped series, a group of dancers “remixed” Shakespeare’s Romeo and Juliet by way of an Australian storytelling technology, Omelia. A product built to shuffle characters and events and generate narrative possibilities in real time, dancers using it brought a new version of the classic tragedy to life. The one-off production, R+J RMX, was filmed for the Opera House’s streaming platform.

The “remix” was interactive: audience members were sent to a website where they could restructure the play with the touch of a button, while on stage narrators and dancers ran through numerous renditions of the story.

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