There are some mighty aspirations driving Tree. And, after all the controversy, it turns out to be a theatrical spectacle that only the most hard-nosed sceptic would be unable to completely resist. Continue reading →
There is much in Bianca Bagatourian’s The Time Of Our Lies that reminded me of George Brant’s Grounded, the play that told the story an American woman drone pilot and in so doing brought home the dehumanising effect of modern warfare on those shielded by distance but not by the after-effects of sensing the violence they were inflicting on other human beings. Continue reading →
Even the best of intentions can sometimes end up messily.
You’d think the combo of Jack Thorne and John Tiffany (Harry Potter and TheCursed Child and before that, Hope, and the brilliant adaptation of the Swedish gothic tale, let the right one in) would be a brilliant reunion. Continue reading →
How fascinating to see David Greig’s Europe again twenty-five years on from its premiere. What was Greig thinking about, I wonder, when he first wrote Europe in 1994? – a landscape so far distant from our own in 2019 in terms of optimism in a play also now so prescient of the violence that immigration has unleashed on Europe reigniting the rise of neo fascism barely fifty years after the war that many must have thought had crushed it forever. Continue reading →
Another milestone, another account of lost stories come to light. Summer Rolls is the first Vietnamese play to have been produced in London and a mark of a growing sense of confidence by its two young producers, Tuyen Do, Summer Rolls’ author and Tuyet Huynh, who only set up their production company, VãnThanh Productions a year ago. Continue reading →