Amazing to think it’s nearly forty years, 1979, since Brian Friel wrote Aristocrats and thirteen years (2005) since the National revived it in a Tom Cairns production which included a budding Andrew Scott. Continue reading →
Review by Carole Woddis of performance seen Aug 1, 2018:
Shakespeare took a particular delight, it seems to me, in investigating great men who by an intrinsic fault in their personality bring about their own downfall: Coriolanus and the bond with his mother; Macbeth’s relationship with his wife and his over-weaning ambition coupled with a surprisingly lively conscience. And Othello, a man who `loved not wisely but too well’, whose love, stirred up by the impatient and resentful NCO, Iago, brings about his own downfall. Continue reading →
It opens at a Quaker meeting, a circle of people, being silent, waiting for the spirit to move in them to speak. At the end, there is a catalystic moment when one of their number does indeed speak. Continue reading →
To say The Wooster Group are iconic is a bit like saying in the summer, the sun shines. It’s a given. The Wooster Group have been at the forefront of experimental theatre-making for nearly half a century. Continue reading →
Sometimes you just know you’ve seen the experience of a lifetime.
Twenty five years ago, Anna Deavere Smith came to London with a heart-felt, revealing portrait of New York tensions between the Jewish and Afro-American communities. She was a force to be reckoned with then, pioneering a form of theatre based in verbatim reports but energised by performance. Continue reading →