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Showing all news in Reviews
If Ibsen is for all time then it seems an odd decision to plonk him so precisely in one historical moment and overegg the pudding with enough uber-topical references to satisfy even the most ardent Life On Mars fans when it comes to period detail.
In the hands of these skilled actors, the play succeeds in reaching a level of quality which from lesser performers might just about amuse an undemanding audience.
The play is a tangle in several senses: it is an ensemble piece performed in Arabic and Hebrew with English subtitles by Israeli and Arab actors, all of whom take on a number of roles as members of both Jewish and Palestinian communities.
Korngold’s score, expertly conducted by Ingo Metzmacher, is an intoxicating web of mournful longing and nostalgia: a dead city made of sound.
Surreal, funny, entertaining, imaginative - Primary Voices gives its audience an exclusive look into the minds of young Londoners, and you’ll be pleasantly surprised at what you find.
Mere minutes after the start of Tom Stoppard and Andre Previn’s Every Good Boy Deserves Favour at the National Theatre, it seems incredible that so many directors waste their time staging productions without one.
A Midsummer Night’s Dream is littered with arcane references to obscure concepts and ideas with which a modern audience may have difficulty. Gregory Doran’s current RSC production at London’s Novello Theatre does much - perhaps rather too much - to help.
Exotic in its discipline, this show is an extended and unusual object animation using the brushstrokes of Beijing opera.
This is punk theatre at its best. Marseille-based marionette circus Buchinger's Boot is a glorious, gluttonous junkyard of scavenged paraphernalia and butchered remains.
Baz Luhrmann’s new blockbuster is an OK sort of film. It’s no masterpiece and doesn’t deserve to walk off with a haul of Academy Awards in its swag bag next February.
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