MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
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A radical rethinks
SARAH FRANKCOM, director of top theatre school Lamda, talks to Cliff Cocker about how acting training has to change in response to tumultuous times
Sarah Frankcom
[Helen Maybanks]
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
SARAH FRANKCOM spent nigh on six highly successful years as artistic director of the Royal Exchange Theatre in Manchester, and under her tenure it expanded its reputation as one of the leading regional theatres in the country.
So it was a “big decision” for her to leave Manchester — where “the arts ecology is really different to London. It’s more possible to make things happen and the city gets behind ideas and artists” — and take up her new role as director of the London Academy of Music & Dramatic Art (Lamda).
In a sense, Frankcom has come full circle in her new job. She was previously a teacher in the East End of London who “sort of became a theatre director by accident. I’ve always loved making work with young people.”
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