Bookings open for the RE:EMERGE Season at the Harold Pinter Theatre
April 15, 2021 Last updated:
April 15, 2021
Sonia Friedman Productions announces the dates for the RE:EMERGE season as priority booking opens on 15 April at 10.30am, with public booking opening 16 April at 10am. Amy Berryman’s Walden opens the season, with previews from 22 May, and running until 12 June; Yasmin Joseph’s J’Ouvert previews from 16 June, and runs until 3 July; and completing the season, Joseph Charlton’s Anna X previews from 10 July, and runs until 4 August. The season will observe the UK government social distancing guidelines for audiences at the time of performance, making adjustments where safe and appropriate to seating and capacity in line with current advice.
Date Time
Administrators’ 12-month report and Action Plan for future
The City of Whittlesea’s Panel of Administrators, which acts as the “Council”, has provided a detailed report on its work to restore good governance and organisational stability while representing the best interests of the community in the first 12 months since being appointed by the Victorian Government.
Chair Administrator Lydia Wilson said she was proud to serve the City of Whittlesea along with Administrators Peita Duncan and acknowledged the work of The Hon Bruce Billson who resigned recently to take on a Federal Government appointment.
“The last 12 months has been a rewarding, busy and productive period with many achievements that go beyond good governance and organisational stability,” Ms Wilson said.
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James Waddell lives in London, and writes about art, theatre, the early modern period, and the intertwined histories of ideas, books, libraries and emotions. He is a PhD student at UCL, where he is researching distraction in 16th-century literature
As much as I’ve missed theatres this past year, watching an online recording of the Almeida’s 2019 production of
Duchess of Malfimakes clear one reason for shutting them. Flecks of thespian spittle sail across my laptop screen in high definition, unforgivingly captured by close-up shots and stage lighting. Contemplating the gob and mist projected alarmingly across the stage with each pronunciation of a plosive “p”, I remember seeing the play live last January, and shudder at my reckless acceptance of the offer of a third-row seat.