S5 Ep1: Jude Christian talks to Simon Stephens
Over the course of the last decade Jude Christian has established herself as one of the most exciting directors, dramaturgs, and theatre makers in British theatre. She has written, developed and performed a quite shattering and unique piece of theatre. Nanjing dramatizes her own exploration of her own history.
S5 Ep2: Laurence Dauphinais talks to Simon Stephens
Quebecoise musician, artist, director, actor and writer Laurence Dauphinais has a body of work that is defined by its diversity. Her beautiful piece of documentary drama Aalaapi, which has been chosen for the 2020/21 Stückemarkt, was her debut as solo director. It premiered at the Centre du Théâtre d’Aujourd’hui (CTDA) in Montréal where it won the 2020 Playwright’s Prize.
S5 Ep3: Eve Leigh talks to Simon Stephens
Eve Leigh is a writer of range and conviction. Her theatre is built on an understanding of the importance of the presence of the audience in her work. She invents games for them to play. She imagines magic tricks for them to take part in. She makes music for them to listen to. In recent years her commitment to the investigation of issues of ability and access in the theatre have been integrated into her work in a way that is as theatrical and playful as it is serious and nuanced.
S5 Ep4: Sam Max talks to Simon Stephens
Sam Max is in the early years of their working life but judging from the level of interest their work has provoked and from the depth and clarity of imagination that defines COOP, they are one of those writers whose work over the coming decade has the potential to allow us to reimagine ourselves as we come out of the pandemic.
S5 Ep5: Ta-Nia (aka Talia Paulette Oliveras & Nia Farrell) talk to Simon Stephens
The theatre making duo made up of director Talia Paulette Oliveras and writer Nia Farrell, collectively known as TaNia, met while studying experimental and collaborative theatre making at New York University’s Tisch School of the Arts. The power of their theoretical rigour and the incision of their thought as a means of critiquing power was maybe developed at NYU, but there is no arid or academic crust to the work that TaNia first developed there: the visceral, playful, humane, angry, Afrofuturist theatre event Dreams in Blk Major.