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Katie Kirkpatrick

BroadwayWorld.com •

Steven Sater talks SPRING AWAKENING at the Almeida Theatre

Lyricist and playwright Steven Sater won a Tony, an Olivier and a Grammy for his smash hit Spring Awakening, which originally opened on Broadway in 2007. The musical, which has music by Duncan Sheik, was then revived on Broadway in 2015 in a production by Deaf West that used both American Sign Language and English.

A new revival production of Spring Awakening is now running at the Almeida Theatre in London, directed by the venue's Artistic Director Rupert Goold and led by rising stars Amara Oke
BroadwayWorld.com •

BWW Review: SUNSET BOULEVARD, Royal Albert Hall

Jewel-coloured velvet, golden spotlights, rapturous applause, and scandalous affairs. This is the glamorous Hollywood world of Andrew Lloyd Webber, Don Black and Christopher Hampton's Sunset Boulevard. Set against the luxe of the Royal Albert Hall and accompanied by a magnificent 40-piece orchestra, this concert presentation of the musical made for a stunning evening of entertainment.

Based on the iconic film of the same name, Sunset Boulevard follows Joe Gillis (Ramin Karimloo), an out-of-work
BroadwayWorld.com •

THE CHAMBER MUSICAL SESSIONS Brings New Writing to the West End

As the curtain lifts on the West End once again, familiar show tunes echo down the streets of central London. The likes of Les Miserables, Six, Wicked and Mamma Mia are back, along with a sea of film adaptations such as Back to the Future and Frozen - Shaftesbury Avenue on a Saturday evening is filled with theatregoers once more. But where is the new writing? Are original new musicals even being put on in the West End anymore?

Katy Lipson of Aria Entertainment and Adam Lenson of ALP Musicals an
BroadwayWorld.com •

BWW Review: MALINDADZIMU, Hampstead Theatre

As tourists return to Oxford, one spot along the high street has become part of every walking tour: the statue of Cecil Rhodes that, despite years of protests and the recent rise of the Rhodes Must Fall movement, remains standing outside Oriel College.

In Malindadzimu, award-winning new playwright Mufaro Makubika humanises the headlines, leading us from Nottingham to Zimbabwe in a tale of mothers, daughters and spiritual ancestors. Premiering at Hampstead Theatre, the play is an exciting showca
BroadwayWorld.com •

BWW Review: WHAT IF IF ONLY, Royal Court

What If If Only, the prolific Caryl Churchill's latest short play, explores incredibly complex issues of grief and time in its very short 20-minute run time. Premiering at the Royal Court, James Macdonald's production finds the humour and humanity in the text, which is brought to life with imagination.

The play opens with Someone (John Heffernan) sitting alone at a kitchen table with a glass of wine. He is the only person onstage, but addresses his late partner, begging to be able to speak with
A Younger Theatre •

Review: Dear Elizabeth, the Gate at Theatro Technis

If ever a show deserved to be written about exclusively in the present tense, it is the Gate’s Dear Elizabeth. A love letter to the concept of live theatre, the production is unapologetically quirky and alive, while still presenting a meaningful exploration of human kinship.

Conceptually ambitious, each night, Dear Elizabeth stars two different actors. Both them and the audience have never seen or heard the script before, and thus everyone in the room unravels the story of Elizabeth Bishop and
ORB •

Women's Prize for Fiction 2021

“There was nothing to being white except boldness. You could convince anyone you belonged somewhere if you acted like you did.”

So concludes Stella, the ‘vanishing half’ of the identical twin Vignes sisters from Brit Bennett’s acclaimed novel of the same name––a harrowing tale of the implications of her passing as white in post-Jim Crow America and the cost of making a new identity, not just for her, but for generations of her family.

Consistently ranked as one of the year’s best on book revie
The Isis | Est. 1892 •

Spaces | The Isis

we would bash the trees

and see what little creatures

taking up space

only how they are told.

at my feet I see

at the corners of my mouth,

but before I can meet her

when I was four,

I was really that fragile.

winks at me now,

as if she knows

she never wanted to leave.

She peers over the roofs

as though cheating on her SATs,

my every movement taken down

Now, I am the spark

of an electric shock on the metal slide.

Standing among the trees, I watch the little creatures

at my feet
A Younger Theatre •

Review: The Entertainment, Edinburgh Fringe

Personally, I love a good radio play. The Entertainment is a brilliant one – it treats the form as an advantage as opposed to a limitation, and in doing so produces something truly creative and individual. Not only that, but it’s a brilliant piece of theatre in general: the plot is genuinely original, the characters are nuanced, the structure works. Katie Bonna has made a radio play that demands to be listened to.

As we put in our headphones, listeners are introduced to Anna, a queer woman who