Author: James Haddrell

In times of unrest, it is common for our storytellers to focus on the major players, telling stories of astonishing bravery, of unspeakable atrocity, of power politicians and international strategists.

In times of unrest, it is common for our storytellers to focus on the major players, telling stories of astonishing bravery, of unspeakable atrocity, of power politicians and international strategists.

In times of unrest, it is common for our storytellers to focus on the major players, telling stories of astonishing bravery, of unspeakable atrocity, of power politicians and international strategists.

In times of unrest, it is common for our storytellers to focus on the major players, telling stories of astonishing bravery, of unspeakable atrocity, of power politicians and international strategists.

In times of unrest, it is common for our storytellers to focus on the major players, telling stories of astonishing bravery, of unspeakable atrocity, of power politicians and international strategists.

In times of unrest, it is common for our storytellers to focus on the major players, telling stories of astonishing bravery, of unspeakable atrocity, of power politicians and international strategists.

In times of unrest, it is common for our storytellers to focus on the major players, telling stories of astonishing bravery, of unspeakable atrocity, of power politicians and international strategists.

In times of unrest, it is common for our storytellers to focus on the major players, telling stories of astonishing bravery, of unspeakable atrocity, of power politicians and international strategists.

Founded over 30 years ago and now based at the Albany Theatre in Deptford, Kali Theatre offers unique opportunities in new theatre writing for women of South Asian descent.

I write this at the end of the first day of rehearsal for Snow White, this year’s all-singing, all-dancing pantomime at Greenwich Theatre.

This week, at an event at the London Palladium, a new campaign was launched, calling on the Government to enable every child to attend the theatre at least once during their school years.

Last week I unveiled the first three of our Edinburgh Festival transfers, heading to Greenwich as part of our Pick of the Fringe programme in October

One of the most exciting moments in the theatre calendar is undoubtedly the Edinburgh Fringe, the largest arts festival in the world, where thousands of companies fight it out for the attention of audiences and critics, make new professional connections, hone their craft and launch new work.

Described at its premiere as “a delectable black comedy” by the Evening Standard, and “fiendishly clever” by, this is not an easy play to get right, but it seems this young company are hitting all the right notes.

If there’s a general consensus that what this country needs now is to laugh, then with so many acclaimed comedies heading our way I hope a trip to Greenwich Theatre this month could offer the perfect opportunity.

I’ve been lucky enough to direct some fantastic actors in my time, but sometimes the most rewarding moments in rehearsal can arise from other members of the creative team taking over to develop particular aspects of a show.

One of the most significant new writing theatres in London, Theatre503 in Clapham continues to nurture and champion the very best new plays, and the recently announced autumn season is no exception.

This summer at Greenwich Theatre we are continuing a growing tradition of staging an ambitious in-house family shows.

One of the joys of working at Greenwich Theatre is that no year ever looks the same as the one before – we are all learning, all the time, whether it’s the technical team, marketing, box office or me in programming or directing.