[BLANK]: (National Theatre Connections Edition) (Oberon Modern Plays)

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a b Collins-Hughes, Laura (14 April 2016). "Alice Birch Speaks Softly and Writes Loud Plays". The New York Times. ISSN 0362-4331 . Retrieved 6 March 2020. Kelting, Lily (28 November 2016). "Flipping the switch: Katie Mitchell". EXBERLINER.com . Retrieved 18 March 2020. Goldsmith, Jill (24 October 2023). "Gotham Awards Nominations: 'All Of Us Strangers' Tops Movie List; Ryan Gosling Gets 'Barbie' Nom With Budget Caps Removed". Deadline . Retrieved 2 November 2023. Alice Birch’s heartbreaking new play reaches across society to explore the impact of the criminal justice system on women and their families. Trueman, Matt (13 June 2017). "London Theater Review: 'Anatomy of a Suicide' ". Variety . Retrieved 17 March 2020.

Shaffi, Sarah (26 January 2020). "Sally Rooney's Normal People: trailer, cast and more". Stylist . Retrieved 18 March 2020. a b Bradshaw, Peter (27 April 2017). "Lady Macbeth review – brilliantly chilling subversion of a classic | Peter Bradshaw's film of the week". The Guardian. ISSN 0261-3077 . Retrieved 18 March 2020. What is powerfully brought home is a litany of what some women endure. Mental illness, infanticide, domestic violence, drug addiction and appalling parenting are all there. A drug addict tries to burgle her parents’ home and is later seen soliciting for prostitution and later still having to be fatally subdued in gaol. A vulnerable woman naively falls in love with a violent man; in due course she tries but fails to get into a refuge.Her second feature will be an adaptation of the Graham Swift novel Mothering Sunday for Number 9 Films and Film 4. She will also adapt bestselling novel The Silent Patient for Plan B. In 2018, Birch adapted Marguerite Duras' novella La Maladie de la Mort (or, in English, The Malady of Death) for the stage. [44] The play premiered at the Edinburgh Fringe Festival that year and was directed by Katie Mitchell. [45]

Costa, Maddy (23 May 2011). "Many Moons – review". The Guardian. ISSN 0261-3077 . Retrieved 17 March 2020. Sensing Others through Dancing Bodies as Data: Review of Sense Datum by UBIN DANCE 26th November 2023a b Mumford, Gwilym (11 December 2017). "God's Own Country and Lady Macbeth triumph at British independent film awards". The Guardian. ISSN 0261-3077 . Retrieved 6 March 2020.

Cavendish, Dominic (22 June 2014). "Midsummer Mischief, The Other Place at the Courtyard Theatre, Stratford-upon-Avon, review". The Daily Telegraph. ISSN 0307-1235 . Retrieved 6 March 2020. Rumours circulated in the summer about you working with Taylor Swift on a meta-feminist TV show. Is that true? Fisher, Philip. "Theatre review: 24 Hour Plays 2010 at The Old Vic". British Theatre Guide . Retrieved 23 March 2020. It should be a moment of moral conflict but somehow that does not quite happen. Eventually the scene terminates with what might be a child actor’s favourite role. One of the little girls comes out with a baseball bat, stands on a chair and smashes up the dinner table, fattoush salad and all. Throughout the 1980s, members of Clean Break led and supported the Close H-Wing Campaign, participating in protests and raising awareness through theatre and film. In 1984, 20 of the 35 inmates participated in a mass hunger strike for over two weeks to demand transfer to another prison. Despite these efforts, HMP Durham’s H-Wing was not closed until 2005 – after it was deemed unsuitable for housing female prisoners following several suicides, and 34 years after it was described as ‘inhumane’ for housing male prisoners.

Short courses and progression routes

Taylor, Paul (16 June 2015). "We Want You To Watch, National Theatre, review: Extreme look at porn". The Independent. Archived from the original on 17 June 2015 . Retrieved 17 March 2020. Ourexistence is based on the injustice women face in a criminal justice system built for men, bymen. The drivers for women’s offending are tightly linked with mental health, addiction, trauma,domestic and sexual violence.Too oftenwomen struggle to accesssupport and find themselvespunished by a system that does not understand or meet their needs, and frequently exacerbatesthem. Have her family politics affected her own? “I remember my stepdad calling me an armchair feminist when I was about 14, which made me really furious. He was probably right. I’ve tried to get out of the armchair.” It’s striking that – after a period in which the National was accused of not doing enough to promote the work of female writers – the new NT season includes so much work by women, I say: two texts by Caryl Churchill, an adaptation of the medieval morality play Everyman by Carol Ann Duffy, Our Country’s Good by Timberlake Wertenbaker. “It looks like a really exciting season, and it’s great to see so many women there.” She laughs. “We’re all humans. That shouldn’t seem like a radical statement.”

She studied English at Exeter University but didn’t get too involved in theatre, apart from directing “an incredibly long, very bad” production of Eugene O’Neill’s Mourning Becomes Electra, starring Vanessa Kirby. “I didn’t love university. I was just really keen to get going. I knew what I wanted to do. I was quite bored, quite easily.”And for all that Birch herself is an unassuming presence – her voice so quiet I can sometimes hardly detect it on the tape – her plays are gloriously full-throated. She arrived on the scene aged 24 in 2011 with Many Moons, which explored with unsettling intimacy themes of child abuse in a bohemian north London borough. It was followed by Astronauts, co-written with a group of 16 to 19-year-olds, which laid into the bedroom tax and the pontifications of Boris Johnson with equal relish. Aberg’s skilfully marshalled production makes good use of Rosie Elnile’s multi-levelled set and is strongly acted by an all-female cast including Shona Babayemi, Joanna Horton, Thusitha Jayasundera, Kate O’Flynn and Jemima Rooper. But, for all the play’s momentary insights, it still feels like fragments of a mosaic.