Latest news with #BristolOldVic
BBC News
13-05-2025
- Entertainment
- BBC News
Bristol performer explores 'queer narratives' of Section 28
A performer says he wants to bring communities together to examine the effects of legislation that banned local authorities and schools from "promoting" Marshman, 51, based in Bristol, will be "sharing queer narratives of historical shame and invisibility" through his performance Section 28 and Me at the Bristol Old Vic from Thursday. Section 28 of the Local Government Act was passed in 1988 and meant school teachers were effectively banned from educating people about homosexuality. It was repealed in England and Wales in 2003. Mr Marshman said: "The route of the show for me is 'am I a show off' because I grew up in a time when identities like mine were hidden or invisible." When the legislation was active, Mr Marshman said "there were no role models for me in that period, [or] there were a few, but they were difficult to come by".Ahead of the performance he hosted tea parties to hear from the queer community about their experiences during that time. Mr Marshman said he was just coming out as a young gay man while the statute was active and trying to work out who he was."There was some queer representation on the TV and in pop music but it felt very distant," he said he was lucky he had started visiting and making friends in Bristol, where he was able to work out who he was, "but there were lots of people who didn't have that". The show is not just about him, but about other people and how everyone comes to their own realisation in different time frames, he previous performances, Mr Marshman said he has joined the audience afterwards and it has been "interesting [that] everyone wants to tell their S.28 story"."There's something about looking at out past, our history, and trying to learn from that," Mr Marshman 28 and Me is on at the Bristol Old Vic between 15 and 17 May.
The Guardian
08-05-2025
- Entertainment
- The Guardian
Could a new wave of urgent theatre hold the key to tackling climate change?
C limate stories are typically defined by despair. The future we are told of is such a tragic, barren dystopia, it's hard to look at head-on. But a flood of theatre-makers are writing their way past fear into something more useful, inspiring action through love, music, puppetry and folklore. 'The ones who profit most from the idea that we're doomed are the oil companies and the people massively polluting our planet,' reasons playwright Flora Wilson Brown. 'If we allow ourselves to think there's nothing we can do, we won't do anything. There's still time to act.' Wilson Brown rejects this nightmarish narrative in her play, The Beautiful Future Is Coming, at Bristol Old Vic. Exploring the impact of the climate crisis through the eyes of three couples, the play jumps between 1856, 2027 and 2100. In the scenes set in the past, life is returned to Eunice Foote, the real scientist who discovered the greenhouse effect years before the man who took credit for it; in the future, we visit the Svalbard seed vault, where humanity has stashed the ambition of life on another planet. 'It's about making the impact emotional,' Wilson Brown says, 'rather than statistical.' In the timeline closest to the present day, The Beautiful Future Is Coming holds a mirror up, reminding us that we still have choice in our actions. 'It's easy to go: 'I'm overwhelmed, I don't know what I can do,'' says Nancy Medina, the show's director and artistic director of Bristol Old Vic. 'Actually, what you can do is care.' To nervously look away is a privilege, she says. 'The majority of people being affected by the climate crisis, in the global south, don't have the time or the energy to be scared of it. They are only just surviving it.' Through this lens, hope becomes an active, life-grabbing choice. A way of fighting for a future we can bear to look at. Stories have long been the way we share possibilities of a better world. During the research and development for Bringing the Outside In, a show made by and for young people around Southampton and the New Forest, playwright Kit Miles learned about the folkloric tale of Yernagate the giant. As protector of the New Forest, the giant helps an old woman defy the man who is single-handedly cutting down all the forest's trees. 'The young people we worked with spoke about how the doom mentality makes them feel powerless,' explains Miles, who grew up on the edge of the New Forest. 'As though they can't do anything, as though it's all lost. We are using the story of Yernagate to show that something can be done.' Positive environment … The Beautiful Future Is Coming rehearsals. Photograph: Ellie Kurttz A collaboration between community arts organisation Theatre for Life and the New Forest National Park Authority, the place creates a sense of intimacy through localisation. 'We looked at the effects of climate change in our own community,' explains actor Imani Okoh. They spoke to climate scientists, marine biologists and rangers. Supported by the YouCAN (Youth for Climate Action for Nature) scheme, the show has been built round the young participants' responses and concerns. 'They felt strongly about the invisible parts of climate change like air pollution,' says Miles, 'which then became the focus of the story.' They read about the tragic death of Ella Kissi-Debrah, a nine-year-old who died from an asthma attack, the first person in the world to have air pollution listed as the cause of death. 'It's not our grandchildren's lifetime,' Miles says soberly. 'It's ours.' In their story, Yernagate helps a young, isolated, asthmatic teenager, played by Okoh, as she struggles with the weight of climate anxiety. Power is handed to their young audiences through the idea of a community garden, a small act of accessible protest, with a mother inspired by Ella's mum Rosamund 'who is quietly doing everything she can', Miles says. When they took it to show a group of young people living in social housing in Southampton, the response was effusive. 'They said it represented them and their community,' Okoh says. 'It's their world, their high rise, their home.' By making their story local, the climate emergency becomes easier to grasp, easier to fight. Though the topic is thorny, comedy snakes in, with The Beautiful Future Is Coming rolling its eyes at sustainable business as a marketing consultant takes a plane to pitch to Greenpeace. With Birmingham Hippodrome's New Musical Theatre department, Jack Godfrey and Ellie Coote have been experimenting with the same idea. 'We wanted to make something entertaining and silly that also talks about these really serious issues,' says Godfrey. 'I don't think those things need to be in opposition to each other.' Their new musical is a romantic comedy. Pitching the Earth and humanity as two partners in a troubled relationship, Hot Mess premieres at the Edinburgh fringe this year. The duo wanted to write a show that spoke to the climate crisis, but it took a breakup and a bike ride for the idea to click. 'I was writing angsty breakup songs,' Godfrey laughs, 'and I was cycling to work when I realised a song I'd written could be sung from the perspective of humanity to the Earth.' Drawing out the metaphor, they played the beats of a romantic relationship against Earth's bumpy history with its inhabitants. 'There are some dark moments which will feel relatable for people when they think about their own relationships,' says Coote, 'and some will feel existential when thinking about our relationship with the planet.' But they wanted to root it in humour, not fear. 'We wanted to disarm the audience with a familiar story,' she says, 'and let them feel their way through.' Like the teams in Bristol and Southampton, they felt the facts of the climate crisis too easily slip from our fingers. 'We wanted to use the superpower of musical theatre,' says Godfrey, 'which is to move people.' skip past newsletter promotion Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. Privacy Notice: Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see our Privacy Policy. We use Google reCaptcha to protect our website and the Google Privacy Policy and Terms of Service apply. after newsletter promotion Climate control … Kit Miles (sitting far right) and the cast of Bringing the Outside. Photograph: Joseph Jennings These plays seek to take what often feels invisible and lay it out for an audience to see more clearly. Abroad, a stampede of animals are confronting this challenge on even larger stages. In 2021, a 12ft-tall puppet of a 10-year-old Syrian girl, called Little Amal, walked 8,000km (5,000 miles) from Turkey to the UK to raise awareness of the urgent plight of refugees. This summer, the same team began a 20,000km (12,400 mile) journey, shepherding The Herds, a group of lifesize animal puppets, from the Congo basin to the Arctic Circle. 'The people who depend on the forest are feeling the climate crisis now,' says David Lan, one of the core team and former artistic director of the Young Vic. 'Animals are already moving from their ancient habitat because the Earth is too hot. We wanted to dramatise this to express the way life is already being strongly affected by what's happening to the climate.' The project leapfrogs people's resistance to admit that the climate emergency is already making our home uninhabitable by placing it in front of them, in public spaces. 'Climate scientists we've spoken to say there is good, meaningful data,' says Lan, 'but they need artists to tell it as a story people can connect with.' The idea came from taking Little Amal to the UN's climate summit in Glasgow in 2021. The Herds will grow in size, from roughly 30 in Kinshasa to more than a hundred by the time it reaches the Arctic Circle, with new species added along the way by South African puppet company Ukwanda. 'I say with confidence that the animals will have power,' Lan says, 'when they rampage into city centres.'The extraordinary scale of the project, which will pass through London and Manchester in late June and early July, is part of its power. 'We hope it being so extensive expresses that you can do big things,' Lan says. 'You can bring people together. You can change things.' Like Bristol Old Vic and Theatre for Life creating local connections, The Herds is made possible by its partnerships; Little Amal formed collaborations between organisations who had existed next door to each other for years but had never thought to work together. 'The provocation is to engage,' Lan says. 'Find the place where your energy can be effective, where you can connect to other people.' By shifting the narrative from doom to hope, these theatre-makers aim to inspire conversation, action and collaboration. 'We can only do it together,' Lan says of changing our minds and our future. 'Doing it by instruction is not going to work. It's got to be felt.' While their stories take different forms, they all believe in the power of the emotion that can gather in a crowd. 'Hope is built on community,' notes Miles. 'All it takes is a theatre's worth of people to do something big.' The Beautiful Future Is Coming is at Bristol Old Vic, 15 May to 7 June ; Hot Mess is at Pleasance Two , Edinburgh, 30 July to 25 August ; Bringing the Outside In is at Mayflower, Southampton, 15 July , then touring in 2026; The Herds visits London, 27 to 29 June , and Manchester, 3 to 5 July .
Yahoo
26-04-2025
- Health
- Yahoo
Trans women should not be allowed to use women's toilets, says human rights watchdog
Trans women should not be allowed to use women's toilets, the UK's equalities watchdog has declared. The Equality and Human Rights Commission (EHRC) has issued interim guidance after the Supreme Court ruled earlier this month that the legal definition of a woman was tied to biological sex. It comes as the Government considers plans submitted by the watchdog last week for a wider overhaul of equality laws aimed at protecting women-only spaces. In an update published on Friday night, the EHRC told employers, pubs, shops and hospitals that they must all act in line with the Supreme Court judgment. 'If somebody identifies as trans, they do not change sex for the purposes of the [Equality] Act, even if they have a Gender Recognition Certificate,' the guidance said. 'A trans woman is a biological man. A trans man is a biological woman.' The EHRC added: 'In workplaces and services that are open to the public, trans women (biological men) should not be permitted to use the women's facilities and trans men (biological women) should not be permitted to use the men's facilities, as this will mean that they are no longer single-sex facilities and must be open to all users of the opposite sex. 'In some circumstances the law also allows trans women (biological men) not to be permitted to use the men's facilities, and trans men (biological woman) not to be permitted to use the women's facilities.' The watchdog said mixed-sex toilets or changing rooms should be provided 'where possible' in addition to single-sex toilets. Guidance on when competitive sports must be single-sex will be set out separately by the EHRC 'in due course'. Maya Forstater, the executive director of the women's rights campaign group Sex Matters, told The Telegraph: 'This guidance is super simple and clear and confirms what the Supreme Court says. 'The Supreme Court's judgment was a model of clarity, and the new EHRC guidance is practical, simple and workable. 'Some trans people will be disappointed, but other people have rights. There is no excuse for any employer or service provider not to follow this guidance right now.' Last week, the Bristol Old Vic indicated it would defy the Supreme Court by continuing to allow theatregoers to use whichever toilet they prefer. The theatre said: 'In light of the recent Supreme Court ruling on the legal definitions of sex and gender, we want to reassure our trans and non-binary visitors, staff and artists that you are welcome here. 'We continue to welcome everyone to use the facilities that are most appropriate for them and we continue to offer a range of choices because we understand people enter into this conversation from different starting points and life experiences.' The Bristol Old Vic went on to insist it would 'only ever intervene if people are behaving inappropriately'. Girlguiding, Britain's biggest organisation for young girls, issued a statement saying it was 'proud to be a trans-inclusive organisation' and that it would await further guidance. In its interim statement, the EHRC also warned that only offering mixed-sex toilets could amount to indirect sex discrimination against women. Schools have been told single-sex toilets must be provided for boys and girls aged eight and over, and single-sex changing facilities for boys and girls aged 11 and over. Biologically male pupils who identify as trans girls are not permitted to use girls' toilets or changing rooms under the guidance, just as biologically female pupils who identify as trans boys are not permitted to use boys' toilets or changing rooms. The EHRC further clarified that members of an association with 25 members or more can be limited to men or women only, and can also be limited to gay men or lesbian women. The guidance said a lesbian-only association should not admit trans women, and associations for gay men should not admit trans men. Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Telegraph
26-04-2025
- Health
- Telegraph
Trans women should not be allowed to use women's toilets, says human rights watchdog
Trans women should not be allowed to use women's toilets, the UK's equalities watchdog has declared. The Equality and Human Rights Commission (EHRC) has issued interim guidance after the Supreme Court ruled earlier this month that the legal definition of a woman was tied to biological sex. It comes as the Government considers plans submitted by the watchdog last week for a wider overhaul of equality laws aimed at protecting women-only spaces. In an update published on Friday night, the EHRC told employers, pubs, shops and hospitals that they must all act in line with the Supreme Court judgment. 'If somebody identifies as trans, they do not change sex for the purposes of the [Equality] Act, even if they have a Gender Recognition Certificate,' the guidance said. 'A trans woman is a biological man. A trans man is a biological woman.' The EHRC added: 'In workplaces and services that are open to the public, trans women (biological men) should not be permitted to use the women's facilities and trans men (biological women) should not be permitted to use the men's facilities, as this will mean that they are no longer single-sex facilities and must be open to all users of the opposite sex. 'In some circumstances the law also allows trans women (biological men) not to be permitted to use the men's facilities, and trans men (biological woman) not to be permitted to use the women's facilities.' The watchdog said mixed-sex toilets or changing rooms should be provided 'where possible' in addition to single-sex toilets. Guidance on when competitive sports must be single-sex will be set out separately by the EHRC 'in due course'. Maya Forstater, the executive director of the women's rights campaign group Sex Matters, told The Telegraph: 'This guidance is super simple and clear and confirms what the Supreme Court says. 'The Supreme Court's judgment was a model of clarity, and the new EHRC guidance is practical, simple and workable. 'Some trans people will be disappointed, but other people have rights. There is no excuse for any employer or service provider not to follow this guidance right now.' Last week, the Bristol Old Vic indicated it would defy the Supreme Court by continuing to allow theatregoers to use whichever toilet they prefer. The theatre said: 'In light of the recent Supreme Court ruling on the legal definitions of sex and gender, we want to reassure our trans and non-binary visitors, staff and artists that you are welcome here. 'We continue to welcome everyone to use the facilities that are most appropriate for them and we continue to offer a range of choices because we understand people enter into this conversation from different starting points and life experiences.' The Bristol Old Vic went on to insist it would 'only ever intervene if people are behaving inappropriately'. Girlguiding, Britain's biggest organisation for young girls, issued a statement saying it was 'proud to be a trans-inclusive organisation' and that it would await further guidance. In its interim statement, the EHRC also warned that only offering mixed-sex toilets could amount to indirect sex discrimination against women. Schools have been told single-sex toilets must be provided for boys and girls aged eight and over, and single-sex changing facilities for boys and girls aged 11 and over. Biologically male pupils who identify as trans girls are not permitted to use girls' toilets or changing rooms under the guidance, just as biologically female pupils who identify as trans boys are not permitted to use boys' toilets or changing rooms. The EHRC further clarified that members of an association with 25 members or more can be limited to men or women only, and can also be limited to gay men or lesbian women. The guidance said a lesbian-only association should not admit trans women, and associations for gay men should not admit trans men.
The Guardian
29-03-2025
- Entertainment
- The Guardian
Adolescence's Erin Doherty: ‘When did I last cry? Oh when was the last time I didn't?! I cry all the time'
Born in West Sussex, Erin Doherty, 32, studied at the Guildford School of Acting and Bristol Old Vic theatre school. She played Princess Anne in The Crown and the lead in Amazon Prime's thriller Chloe. In 2022, she starred in The Crucible at the National Theatre and, in 2024, she was in Death of England: Closing Time at @sohoplace theatre, London. She has leading roles in the Disney series A Thousand Blows and Netflix's hit drama Adolescence. She lives in Surrey. When were you happiest? Mornings. Playing music, fresh coffee, dippy eggs and soldiers, my girlfriend – what's not to love? What is your greatest fear? Regrets. That's no way to live. What is your earliest memory? Sneaking downstairs for midnight feasts with my sister and cousins. Which living person do you most admire, and why? My sister. She is the most loving, positive and generous person I know. What is the trait you most deplore in yourself? I overthink everything. What is the trait you most deplore in others? Meanness. What is your most treasured possession? A letter from my grandma after she saw me on TV for the first time. Describe yourself in three words: The three things I strive for are authenticity, presence and empathy. You'd have to ask my loved ones if I'm pulling them off. What would your superpower be? Invisibility. I love observing people – I could watch them all day (in a non-creepy way, of course). If you could bring something extinct back to life, what would you choose? There was a chocolate bar that I got every day on my walk home after school called Mars Delight – I think about that quite a lot. What scares you about getting older? I am genuinely buzzed about it! I think we just keep getting better, smarter, wiser, truer, happier. What did you want to be when you were growing up? Sounds cliched, but I always wanted to be an actor. What is your guiltiest pleasure? The Kardashians – I know. What does love feel like? Having music for limbs. Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion What did you dream about last night? I vaguely remember Kate Winslet being there, so I reckon it was a good one. Which words or phrases do you most overuse? 'Happy days' tends to be my response to a lot of things. What is the worst job you've done? I was the PE technician at my old secondary school, so I had to pump up all the balls, wash all the kits and get the form notes in before morning registration every day. If not yourself, who would you most like to be? I'd love to be a therapist for a month or so. I don't think I could sustain it, but I'd love to know what that feels like. When did you last cry, and why? Oh when was the last time I didn't?! I'm a crier. I cry. All the time. What do you consider your greatest achievement? Learning to get back up. How would you like to be remembered? A good listener. What is the most important lesson life has taught you? Offer kindness always.
