It was a packed house - including many therapy professionals - for Matthew Campling's new play The Secondary Victim at the Park Theatre. Which made for some very knowledgeable comments and insights at the post-show Q&A.
A cheeky Twitter follower requested that I ask the three stars of Patrick Marber's locker room drama The Red Lion - Stephen Tompkinson, John Bowler and Dean Bone - to explain the off-side rule during my post-show Q&A.
Can we love someone whose belief system we fundamentally disagree with? If we love someone, can we denounce what we believe just to please them? Family and faith compete in thoughtful three-hander The Busy World Is Hushed.
How much can a landscape shape a person's identity? How much can a landscape shape a play's plot? In answer to the latter question, in the case of Elizabeth Kuti's Fishskin Trousers, the answer is certainly quite a lot.
How do we talk to those that we hate? How do we speak across the anger that divides us? Those are the opening lines in Chris Hannan's provocative new play, What Shadows - and they were also amongst the questions raised at my post-show Q&A.
Sales of George Orwell's 1984 surged by a staggering 9,500% after the election of Donald Trump to become Amazon's biggest seller. Orwell himself died, at the age of 46, in January 1950, just seven months after 1984 was published. What might he have written if he’d lived longer?
I had my own Godotesque moment to start last night's Waiting for Godot Q&A. The stage was bare. Where were the chairs? Was anyone bringing chairs? How long would we be waiting for chairs? Did such things as chairs exist?
The plays may have been written 420-odd years apart, but I was really struck by how many parallels there were between the discussion I hosted last week, to the European premiere of Jordan Tannahill's Late Company, and the one I hosted last night, to Christopher Marlowe's 16th-century classic Edward II.