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 →
It’s interesting how Maggie Smith’s iconic 1969 performance as Edinburg teacher Jean Brodie has so stuck in people’s minds. Definitive in many ways, it was therefore brave of Josie Rourke to programme a revival.
Polly Findlay’s fine production, in David Harrower’s new adaptation, certainly justifies her decision. Continue reading →