![]() ![]() During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic. Donate to Theatre MAD nowĪcting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. ![]() The Make A Difference Trust fights HIV & AIDS one stage at a time. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids. That five quid you spend on a large glass of House White? They can save someone’s life with that. They give grants to set up small, sustainable businesses that bring financial independence and security. Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. It will appeal to anyone who wants to be immersed in a noir horror and swept along with such beautifully choreographed storytelling that you sit mouth-agog at the sheer spectacle of it all.Lansley, book the next couple of years out. It would be unfair to single out any performance, as there is no weak link in this troupe, although I did really fall in love with Carter's innocent, china-doll portrayal of Gwendoline and Woolmer's plucky, optimistic Thomas.Make no bones then, this will sell out. The author himself, Lansley plays the role of Ernest, accompanied by Grace Carter as the frail young girl who lives in the apartment block opposite him Joe Woolmer, her neighbour and Rachel Dawson as the asylum nurse and Ernest's mother. These multi-talented actors often pick up instruments to seamlessly add depth with their own underscore, or conjure sound effects from inventive use of props. Director Emma Earle builds a beautifully rich physical tapestry as the cast skilfully bounce the narrative between themselves. Cowering in an asylum that may well have been decorated by Tim Burton on one of his more psychotic days, what follows is a distinctly non-linear account of what got him there and why his dementia is only quelled by masking the full glare of the moon from his cell window. At the top of the show Ernest Hemel is a broken man. This piece is every bit as strong in narrated style and poetic substance as its older sibling, but where Infants offered a patchwork of tall tales that crossed the tastes of all generations, Ernest is a far darker play that focuses on a single story - and that story isn't exactly what you'd describe as 'kid friendly'. So now back at the Pleasance with Ernest And The Pale Moon, he has created big expectations.I needn't have worried. How To Sell Your Show At The Edinburgh FringeĪuthor Oliver Lansley garnered considerable and well deserved praise for his Fringe hit, The Terrible Infants, which popped up at the Pleasance in 2007 and enjoyed a runaway success ever since (most recently at the Udderbelly's noteworthy appearance on the Southbank in London). ![]()
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