All wrapped up: what theatre brought to 2017
This year has been eventful for British theatre. In recent months, people have been coming forward with allegations of sexual assault against directors and acto...
Afshan D'souza-Lodhi
Feature: Pink Sari Revolution: a revolution in theatre as well as on stage
In the aftermath of media coverage on the violence against women in India, comes a play about women rising up. Pink Sari Revolution, adapted for the stage by Pu...
Feature: We need to talk about women playwrights of colour in theatre
Let’s talk about women playwrights of colour in theatre. Recently there was public outrage over the lack of female playwrights in leading London Theatres and...
Review: Bin Laden, The One Man Show, C venues
Bin Laden, The One Man Show begins by disarming us. We’ve come to a show about Bin Laden, and that’s what we expect. Everything that Knaive Theatre does, from t...
Review: Polyphone, theSpace @ Jury’s Inn
Ola Aralepo’s Polyphony was an incredibly engaging piece of storytelling. Dressed in a traditional Niergerian agbada, he greets us all and begins to tell us his...
Review: Kat Bond: Loo Roll, Pleasance Courtyard
To be wholly honest with you, I’m not sure why I was expecting a show called Loo Roll to be about anything but loo roll. The comedy piece begins with Bond, or r...
Afshan D'souza-Lodhi
Afshan D’souza-Lodhi was born in Dubai and is of Indian/Pakistani descent. Afshan writes plays, prose, performance pieces and occasionally passive aggressive tweets. She has received theatre commissions from Royal Exchange Theatre, Z-arts and Eclipse Theatre. Afshan has written articles for Vada Magazine, The Body Narratives and now for A Younger Theatre. Follow her on twitter @ashlodhi or visit her website, one she hardly ever updates www.afshanlodhi.com