Sister Bebe is the only one watching Sunrise
Jessie Cave has filmed a version of her live show, Sunrise, to be released as an on-demand stream next month.
She taped a performance at the Soho Theatre in London this month with an audience of one, her sister Bebe, in line with Covid rules.
The show, about dating again as a single mother after a complex break-up, debuted at the Edinburgh Fringe in 2018, before running for seven weeks at Soho, touring the UK and being nominated for a South Bank Award.
Jessie said: ‘I feel so lucky to be filming Sunrise after such a long journey with it. I’ve done the show more than 150 times now and so I think this will be the final outing for my pillow puppets.
9 great ideas for Easter in London this year
Woodland walks, takeaway treats and a secret folly: there s still plenty you can do in the capital this bank holiday
1 April 2021 • 4:00pm
You can still visit Kew Gardens if you book ahead this half term
Credit: Getty
Finally, things are starting to ease up. You can now meet in groups of six outdoors for picnics and more, and day trips are allowed, meaning you can explore a bit further than your local neighbourhood this weekend.
Given most of the fun to be had over Easter will be outdoors, it s even better news that last summer London was declared the first National Park City in the world. An astonishing 33 per cent of it is public green space, with eight royal parks and around 3,000 more non-royal parks scattered around.
Last modified on Thu 25 Feb 2021 06.21 EST
Christopher Alderâs last moments, in April 1998, were unforgivably brutal. Injured in a fight at a nightclub, he took his final breath in police custody. It was an abject death: an unlawful killing that, for his campaigners, represented another instance of a black British man dying in a senseless way.
Yet what is marked about Ryan Calais Cameronâs astounding play, written in rap-like rhyming verse and tracing the minutiae of its unnamed characterâs final day, is that it bursts with life, zest, humour and hedonism even as it hurtles towards tragedy.
First staged as a solo show in 2019 and now created by Nouveau Riche and Soho theatre for a screen version, it becomes a perfect, if eviscerating, nugget of dramatic performance in its new medium; theatrical in setting but also sharply focused and dreadful in its filmic intimacy. When the violence comes, the camera seems to throw the punches. In a claustrophobic closeup, it tight