I’ve never been to the V&A’s Museum of Childhood, let alone after hours. But in the expansive hall and gift shop, one corner has been set up as a playing space for Popup Opera’s Hansel & Gretel. There are shelves of toys and other souvenirs behind us, and sterile glass display cases behind the stage. Our cozy pocket in the grand room has a sinister gloom surrounding what with the autumn evening’s quickly fading light. It’s a suitable space for a story that mostly takes place in the woods overnight, when fairies and witches come out to play.
Imagine a world where our inner monologues are voiced at all times. Sure, it would make the world a much louder place and we’d probably always have sore throats. But think of the things we’d hear. The mundane, the extraordinary, the intimate – there would be no secrets, lies or hiding.
by Paulina Brahm
A letter to Music Theatre Wales:
I’d also like to engage The British Council and additionally Birmingham Repertory and
Hackney Empire in my letter, as both Birmingham Repertory and Hackney Empire are Arts Council-funded.
I’m Paulina Brahm; an Asian-American actress, singer, and voiceover artist. I trained in
voice and acting in New York City; acting under much-missed Broadway director Gene
Frankel and voice under leading spinto soprano Dolores Mari of the New York City Opera. I am a full lyric soprano with coloratura flexibility and I now live, work and sing in the UK.
by guest critic Gregory Forrest
German physicist Werner Heisenberg talks of pairs and duality. The one thing against the other. The one in terms of the other. Directed by Marianne Elliott and written by Simon Stephens, this is an evening of girl meet boy, of random encounters, and the unpredictability of (human) nature.