Blue (Multiplay Drama)

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Do you think the play will challenge what people think they know about mental-health care and mental illness? Munrow challenges the assumption that dementia is worse for those close to the patient than the sufferer themselves. "If someone broke their leg, they would be in pain," Simon reasons. "If someone's mind breaks, wouldn't you think they're in pain as well?" The short, staccato scenes seem to echo the distortions and disorientation of the disease: conversations are generally held at cross-purposes, or directly contradict each other, reminding us that collective truth is rarely more than an aggregate of fallible reminiscences.

sees the strengthening of creative relationships with the theatres’ Associate Companies, as a springboard for fresh voices and new diverse perspectives, ensuring Liverpool’s cultural scene remains vibrant and dynamic. As well as collaborating on productions with Homotopia and Cardboard Citizens, there will be a major co-production and commission with Talawa Theatre Company to be announced in February 2024. The theatres continue to work with Graeae on their artist development programme Beyond, will support a new Liverpool-based Associate role and welcome Graeae’s Crips with Chips: A Fork in the Road, a showcase of short plays by Deaf, disabled and neurodivergent writers written in response to a predetermined theme (24 February). Liverpool Everyman and Playhouse's 2024 season comprises world premières, classic plays and projects with their associate companies, celebrating 60 years since the Everyman was founded and 10 years since its current building opened. Chris Bearne gives a moving performance as widower Terry, who has worked alone in the laundry for nearly three decades and now needs help and company. Bearne gives Terry an innate kindness and good nature which makes his 'tell it as it is' rough honesty endearing. Someone Stares at a Dog for a Few Minutes, and Has a Think About It All by Simon Longman (The Long Listen)I’m excited to direct this incredible play that is full of McDonagh’s trademark dark, violent and hilarious dialogue. But also explodes the ever-relevant theme of revenge. I can’t wait to see how the audiences of Liverpool react to it at the iconic theatre space of the Everyman.”

It will be directed by Chris Sonnex, Artistic Director of Cardboard Citizens (an Associate Company at the Liverpool Everyman and Playhouse): The play isn't perfect: Simon's soliloquy on the movement of electrons feels like a piece of random physics imparted by the playwright, rather than an observation that springs directly from character. But Katie Scott's beguiling design has an underwater feel; and Lorne Campbell's jittery production puts you permanently on edge. Held introduces a talent worth holding on to. Anyone who tries to pin down Munrow to any one category of work is doomed to failure. He is not just the crumhorn whizzkid. (Mind you, more ponderous medievalists underestimate his scholarship.) His skill as a deviser of recital programmes has stood him in good stead recently on the radio, when he introduced a series of Afternoon Sequences – two hours of records for Saturday afternoons on Radio 3. He is always on the move. His wife. Gillian, does all the planning of transport, food, and accommodation. We tell the tales that need to be told now, by the people that need to tell them, in the places they need to be heard. You have only to attend one of the hundreds of lecture-recitals on early woodwind instruments which Munrow gives up and down the country, and abroad, every year to realise how much his playing has caused such instruments to be taken seriously – to be thought of not merely as musical fossils, but as a range of sonorities that hold unlimited delights for the listener, and which today’s composers can find an invaluable stimulus. If you can’t get to one of his lecture recitals, then his exciting new demonstration disc, The Medieval Sound on the Oryx label, will serve the purpose: though seeing him play these colourful instruments inevitably adds further dimension. Medieval music has never for him been a dead art exhumed by scholars. It is alive and well and flourishing world over.sees the strengthening of creative relationships with the theatres’ Associate Companies, as a springboard for fresh voices and new diverse perspectives, ensuring Liverpool’s cultural scene remains vibrant and dynamic. As well as collaborating on productions with Homotopia and Cardboard Citizens, there will be a major co-production and commission with Talawa Theatre Company to be announced in February 2024. The theatres continue to work with Graeae on their artist development programme Beyond, will support a new Liverpool-based Associate role, and welcome Graeae’s Crips with Chips: A Fork in the Road, a showcase of short plays by Deaf, disabled and neurodivergent writers written in response to a predetermined theme (24 February).