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Showing all news in Reviews
What on Earth is Happening to Our Planet?
Robert Lepage superbly performs in this sequel to his 1985 breakthrough masterpiece The Dragons’ Trilogy, marking the return of that play’s central figure – artist Pierre Lamontagne – who resurfaces in Shanghai 20 years later.
FRINGE WORLD: A comedic thesis in pop dialectics covering the great pairings from Brandy and Monica to Freddie Mercury and What’s-her-face Operabitch.
CAMPBELL WORKS: Romany gypsies settled on Hackney Marshes at the end of the 19th century – and Irish Travellers occupied a site between Mare Street and London Fields following the 1968 Caravan Sites Act. Gypsies and travellers in Hackney again found themselves displaced once the development of the 2012 Olympics site got underway.
CHRIS POTTER: A musical prodigy who had his first professional jazz gig at the age of 13, he was also the youngest recipient ever of the prestigious Danish Jazzpar Prize, which is one of the most respected awards in the jazz world.
THE TRAIN DRIVER: There’s a shock, or a twist at the end of the play, which I won’t spoil by revealing here. Suffice to say, it sent chills down the spine and was not expected.
You cannot help but be shocked reading the premise for this play. In December 2000, a 35 year old South African woman stood in front of a train holding her three young children and waited to die. When her 5 year old son
BJORN VENO: His latest project entitled ‘Destroy Art’ has caused a stir in the contemporary art world and seen him escorted from the Tate Modern.
MACBETH: Song of the Goat seek to conjure a complete theatrical experience by engulfing Shakespeare’s text into ‘the ceaseless flow of energy of the actors in performance’.
BANG: In Holding a smile for as long as I am able (2010), the viewer witnesses the artist doing exactly that: eyes cast down, hair flopping, Linington has the concentration of a choirboy.
FEAR OF QUEER: It was an ensemble piece where every player performed well and, although this review has only mentioned two for simplicity, everyone involved gave a fantastic performance. It was clear that the play had been rehearsed for a long time.
BLASTED: has not been performed in London for nearly a decade but with Sean Holmes’ production at the Hammersmith Lyric it seems it has finally found a suitable home with a terrific cast to boot. Let’s just hope that this play continues to amass the recognition it rightly deserves.
YUDI NOOR: His success lies in bringing together a range of materials and objects, and through these diversities and juxtaposition he touches on the complexities of contemporary culture and the roles that history, religion and identity play in our understanding of the current world.
'Crucible' is a dramatic collaboration between the Gloucester Cathedral and the Pangolin Gallery that pushes the boundaries for many traditional worshippers. The sight of Damien Hirst’s “St Bartholomew Exquisite Pain” standing naked, tortured and proud in the central aisle of the quire is disturbing and stunning.
WHEN NO ONE IS WATCHING: This company shows that there is just as much to glean from the making of art and theatre as there is from the work of art itself. They created their own opportunity; they made their own play; they told their own story; and they did so in a way and in an environment that achieved an all-too rare sense of collectivity among a bunch of individuals.
BLOOD AND GIFTS: The impressive play script is animated magnificently by a stellar cast. The lead is the largely unflappable and shrewd American CIA agent, James Warnock (played by Lloyd Owen), whose Achilles heel is his problematic belief that “doing the right thing” should be fundamental to US foreign policy.
DEATHTRAP: Rob Howell’s set design is truly terrific. The staggered geometry of the one room in which all the action takes place is incredibly well thought-out and with Bruhl’s festoonery of weapons all menacingly placed above the action, adding tension to the piece.
PROBE: The sculptures are frequently elevated above us, so that we become almost childlike, gazing up to appraise them, while being surveyed from a lofty angle by something not human, but seemingly sentient.
SUNDAY: Descending into an industrial alley to find the concrete refuge feels raw and arguably more interesting than the more polished events. The expansive interior is an ideal backdrop for the diverse work, which is found inside.
KRAPPS LAST TAPE: Beneath its deceptively superficial exterior the play is the most poignant of Beckett’s oeuvre – full of autobiographical allusions – and a complex and cathartic treatise on the relationship of memory to self and the (quite literal) cyclical nature of existence.
BROKEN GLASS: The ‘political’ in Miller, and all good playwrights, is expressed on the stage through the decisions certain people make when faced by certain obstacles in certain environments. It is achieved through human behaviour, in other words – the true medium of expression of the theatre. It is not achieved by crowbarring thinly-veiled manifestos into the characters’ verbal exchanges nor by m
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