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 →
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 →
Jerome Kern and Oscar Hammerstein’s Show Boat was the musical that broke the mould in 1927. Based on the novel by Edna Ferber, it dared to mix serious themes – racism, alcoholism, a family saga – with musical entertainment. High and low produced an enduring classic of musical theatre that has now reached London from its sell-out revival at Daniel Evans’ Sheffield Theatre. Continue reading →
There is much to commend in Deborah Pearson’s Made Visible, if also elements that irritate. But that’s the way when you’re trying to flesh out an argument you’re not even sure you should be attempting. Continue reading →
Debbie tucker green reaches parts other writers can’t. She cuts to the chase in a way that is like a scythe or a scalpel cutting through skin. It’s clean, swift and it hurts in the sense of a cut bringing you up short with reality and truth. And she has a piercing sense of injustice. Continue reading →