A quick show of hands at last night's Q&A at the Park Theatre bore out my suspicion: most people, even left-leaning people, have not heard of Howard Zinn. Like those in the audience, before this show, I counted myself amongst them.
One of the best means of ensuring a long career is an ability to create your own work. Patrick Bayele has honed this skill early on... and, after seeing what he's accomplished with his triple-threat professional debut, I feel confident we'll be hearing more about him for many years to come.
After chairing events for London transfers of Creation Theatre's The Pit and The Pendulum and Dracula, I was chuffed to be invited to see them on their 'home turf' in Oxford and host a post-show Q&A for their new gaming take on Shakespeare's The Tempest.
How many different ways can one play be interpreted? The company of Equus were very keen not to impose their opinions but the audience at last night's post-show Q&A at Trafalgar Studios had plenty of their own. Which were right? All of them!
How did New Old Friends come to adapt Anthony Horowitz's 1986 children's novel The Falcon's Malteser into a hit family stage show? How has a new gender-equal, four-strong cast brought it to life for its London premiere?
How much do you know about Nina Simone? Guaranteed: after you see Black Is the Color Of My Voice, the one-woman play with music written by and starring young American theatremaker Apphia Campbell, you will be inspired to learn more.
Dylan Coburn Gray's Citysong won the 2017 Verity Bargate Award for new and emerging playwrights and now receives its world premiere in this acclaimed co-production between Dublin's Abbey Theatre and London's Soho Theatre.
How fitting to hold a post-show Q&A for The Starry Messenger during Loneliness Awareness Week. Kenneth Lonergan's beautifully delicate play considers the torment of, as New York Times' critic Ben Brantley puts it: "fallible, contradictory, lonely souls".