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Showing all Performing Arts news in Reviews
THE COURTYARD THEATRE: The tone is set for Goold’s Verona - in 'Romeo and Juliet' - in the violent opening scene: dark figures grapple with each other amidst tongues of flame on a black, oppressive stage and Benvolio is almost burnt alive by Joseph Arkley’s ferocious Tybalt.
It is a shame all productions of Shakespeare aren’t like Cheek By Jowl’s Macbeth in the Silk Street Theatre at the Barbican.
4.48 Psychosis, at the Barbican Theatre this week is Sarah Kane’s last play, written at the very end of the 90s and her life.
There is no Hollywood ending in David Farr’s RSC Lear at the Courtyard theatre in Stratford-on-Avon.
Different rules apply to a conceptual three-parter like Lone Twin’s Catastrophe Trilogy, currently in the Pit theatre at the Barbican.
11 and 12, directed by Peter Brook, is a 100 minute meditation on religious tolerance.
Nic Green’s stirring and very moving Trilogy, at the Barbican last weekend, wears its message firmly on its often naked sleeve.
ROYAL SHAKESPEARE COMPANY: An adaptation of a classic book for stage or screen is usually greeted with howls of protest from fans of the original over the omission of beloved passages or the spurious insertion of jarring modern dialogue.
Terry Pratchett’s Nation, adapted for the Olivier stage at the National Theatre by Mark Ravenhill,
is set squarely at the apex of the age of the nation state: the late 19th century.
SOUTHBANK CENTRE: Ennio Marchetto is a dynamo of a man, and in full flight in his one man show, you can practically see the sparks flying off him.
The one thing aphorisms about 'youth' have in common is a consensus that it is good to be young. Not if you are an angst ridden medical student in 1920s Vienna.
I have not read Michael Faber’s The Fahrenheit Twins but seeing Told by an Idiot’s stage version of it in the Pit at the Barbican has made me want to.
Architecting draws heavily on both the film and book of Gone With The Wind. At 150 minutes, it is pretty heavy weather if you’ve neither read it nor seen the movie.
Have a bloody good time if it’s designer Robert Jones’ Ilyria in Gregory Doran’s Twelfth Night, currently in the Courtyard Theatre in Stratford-on-Avon.
“It’s a nice little thing, but I wouldn’t want to see it again.” This
was the verdict of an exquisitely dressed but sour faced harridan in
the orchestra stalls. One could say the same of her pinched but pretty
There is nothing more infuriating than public naval gazing by media
types. Who cares how the news is made? News is not news.
The best stage magicians are those who make you gasp with amazement at their ability to force you
to suspend your disbelief: you know the rabbit can’t really be in the hat but they make you
Having spent a year working in Taiwan, I was lazily expecting something to do with dragons to the tune of the rhythmic, wailing music that grated so much on my western ears. Wind Shadow is nothing of the kind: Cai Guo-Qiang and Lin Hwai-Min’s monochromatic visual spectacular blends precise, fluid movements with ultramodern special effects of the kind used in the 2008 Olympic ceremonies.
You just know it’s going to end in tears when you get to go out with someone patently out of your league and, of course, it always does. You throw over all your friends, spend all your money and sacrifice every ounce of dignity and self-respect in increasingly desperate attempts to cling to something you know, in your heart of hearts, you should never have had in the first place.
The rise of social networking has brought back unpleasant memories of school for many users - it seems it will never again be possible to escape the schoolyard simply by growing up and moving on.
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