The Progress Theatre are presenting a sumptuous smorgasbord of superb drama this week in their 12th Annual Writefest, showcasing the best of local writing in six short plays.
By Gillie Tunley and Brenda Sandilands.
The Progress Theatre’s latest production is Harold Pinter’s 1978 classic, Betrayal, which is famously based on Pinter’s real-life affair with BBC television presenter Joan Bakewell. In this play, he uses clever reverse chronology to explore the complex theme of betrayal.
The author Philip Meeks has had a lifelong obsession with Agatha Christie and was inspired by the idea of turning Agatha Christie sleuth to uncover Margaret Rutherford’s dark secret. His sensitive and witty script is laced with intrigue and delightful humour.
The Progress Theatre’s Premieres comprises two one-act plays by local writers. The Writer Bird by Emily Goode is a comic, absurdist description of the creative process and The Swastika Party by Paul Levy is a more conventional story about how four young women deal with war and hatred.
By Brenda Sandilands.
We mentioned the considerable challenge posed by the Progress Theatre’s decision to stage this play in our review of His Dark Materials part one; the huge cast and the variety of technical skills required to create the versatile set, costumes, props and puppetry, to name a few. The Progress Theatre has met and conquered these challenges by creating a fast-moving and enchanting theatre experience that will stay with you long after we leave Lyra and Will in Oxford.
Staging this play presents an amazing challenge for the Progress Theatre. They have to create over 130 characters with 28 actors, create two major battles and many smaller skirmishes, represent 43 locations on a small stage, costume the 130 characters and create puppetry for the daemons (a physical embodiment of a human soul).
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The talented Progress Theatre Company are presenting Steve Thompson’s vastly entertaining No Naughty Bits from Monday 16 to Saturday 21 January. The play centres on the controversial legal battle in 1975 between the Monty Python team and a US television network over the latter’s censorious editing of the comedy series.
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