Paul T Davies

Paul is a playwright, director, actor, academic, (he has a PhD from the University of East Anglia), teacher and theatre reviewer! His plays include Living with Luke, (UK tour 2016), Play Something, (Edinburgh Festival Fringe/Drayton Arms Theatre, London 2018), , (2019), and now The Miner’s Crow, which won the inaugural Artist’s Pick of the Fringe Award at the first ever Colchester Fringe Festival 2021.  In lockdown 2020 he created the audio series Isolation Alan, available on Youtube, and performed online in the Voice Box Festival. He is the founder member of Stage Write, a Colchester based theatre company, and his acting roles include Rupert in How We Love by  Annette Brook, first performed at the Vaults Festival 2020 and revived at the Arcola and at Theatre Peckham in 2021. Follow: @stagewrite_

What To Watch Out For in 2018 – Paul T Davies

Features
Olivier Theatre at the National

To talk about every show I’m looking forward to in 2018 would extend this column beyond your patience, so I thought I would focus on three different aspects-and throw in a few more! THE DIRECTOR. One of my favourite directors is Emma Rice, who got me back into the Globe theatre after feeling that it had become too staid for my tastes in the years before. Now she is free of any shackles they may have put on her, I’m excited to see her new work, and to welcome back one of her classics. Her new company, Wise Children, is the new company in residence at the Old Vic, London, and the first production will be an adaptation of Angela Carter’s classic novel Wise Children. A story of twins born on the wrong side of the bed sheets to a theatrical knight, its theatricality and storytelling makes it a perfect … Read more

My 2017 Theatre Highlights – Paul T Davies

Features, Reviews, Touring, West End
Angels in America Part 1 at the National Theatre

We asked our review team to nominate their 2017 theatre highlights. Paul T Davies nominated his favourites and a few productions for a special end of year ovation. Angels In America (National Theatre) About twenty-five years ago, I got a standing room ticket for the original National Theatre production of Tony Kushner’s epic. I stood for the whole seven and a half hour cycle, and, although I wore a younger man’s clothes then, I had to sit down afterwards not just because of the physical demands, but because of the emotional intensity. I had never seen a play like it, and it had a profound influence on me, it also became a cornerstone of my PhD. Marianne Elliot’s majestic production did what you hope every revival will do, it took every line, every scene, every act and every character anew and reinforced the play as a classic. It also had … Read more