Join Frantic Assembly Associate Simon Pittman as he leads you through a physical creative task inspired by the rehearsal process for our production of Lovesong. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average.

is a question we all ask ourselves as we grow older, and while this show may be shamelessly emotionally manipulative with its musical underscoring and videos of rising flocks of starlings, the manipulation of time that is most heart-stoppingly effective. This use of soft lighting and gentle music, which accompanied the couple’s conversation about death, made the audience feel remorseful and naturally captured the universal fear of ageing. Often when both couples appeared in the same scene together, the young couple were lit in a soft, warm coloured lighting whilst the old couple were often left in darkness. Past and present literally intertwine as the older and younger couples move around each other across the stage.One aspect of the direction which I found particularly thoughtful was the way that scenes which clearly showed Maggie and Margaret as being the same character, as an obvious choice would’ve been to have them speak some of the same lines or do some of the same actions- however this never happened. The magic realism of the story is also enhanced by occasional balletic movements well delivered by the older couple Phillips who was pushing 80 when the play was filmed is an astonishing dancer. Although subtle, this technique added depth to their characterisation, therefore making their characters even more believable for the audience.

Rather than just getting the bill and admitting we were on different pages we chatted about the similarities! This larger space made the cross-cutting techniques more effective and gave the audience a feeling of looking in on the scenes. It had been mentioned earlier that taking too many of these blue pills would consequently end her life, and so having this repetition each time she took one built the tension leading up to her death. Cox is equally pitch perfect as the old man grown irascible, haunted by a sense of loss except for one thing, the most important thing, his boundless love for Maggie. Though widely performed in the south of England over the last decade, we’re delighted to bring this beautiful and haunting drama to the North East.

One way in which this was achieved was by the repetition of William saying ‘blue’ each time Maggie swallowed a blue pill. This worked particularly well in the scene where Bill and Maggie are laid on the bed, and Margaret and William are sat, perched up against the end of the bed. However, as Margaret/Maggie prepares to take her own life and end her suffering, Billy is at her side. He touches on where the idea came from and focuses on a particularly important scene and the building blocks used in its creation.

This subtle factor bared significance, as it showed Maggie’s hearing deteriorating as she became older. uk to discuss your individual requirements, and you'll hopefully see our new site and products soon!

Abi Morgan’s love story time-warps us through the 40 years’ marriage of Maggie (Siân Phillips) and Billy (Sam Cox).

There is something a trifle over-elegiac about the evening, and the script is frustratingly hazy on detail.Soft music was used on a number of occasions in the background of scenes with fluid movements between the younger couple, and enhanced the intimate atmosphere. It's not often that you hear mass sobbing in the theatre, but it's all sniffles during the latter stages of this new Frantic Assembly show. The set was simplistic; only featuring basic statement furnishings of the house (such as the fridge, table, bed and wardrobe). Frantic Assembly is the operating name of Frantic Theatre Company Ltd, a Registered Charity, no 1113716. In Scott Graham and Steven Hoggett's beautifully choreographed production, today and yesterday are in a constant pas de deux with each other.