Tricycle Theatre, London (or the Gospel of Tartuffe) ***
© Mark Douet
The thing about farce, particularly one in rhyming couplets, is it’s important to hear the words – something Indhu Rubasingham’s otherwise lively production doesn’t always provide. Continue reading
Tricycle Theatre, London
© Simon Annand
Florian Zeller, unknown to British audiences but feted in France and elsewhere in Europe, has clearly been taking lessons from Pinter. The Father reeks of contaminated emotions – barely disguised threats delivered under the most civilised of behaviours. Just the odd cuff round the ear is enough to reduce Kenneth Cranham’s father, André – described by his daughter Anne as, in younger years, `having authority’ – to numb, shivering fear. Continue reading
Theatre Deli, London
It’s not just the awful events of Paris and Charlie Hebdo that have brought art and politics into public consciousness. Last year we had the Tricycle Theatre accused of anti-semitism for requesting withdrawal of Israeli government funding from the theatre’s annual Jewish Festival; we had a hip-hop musical closed at the Edinburgh Fringe for similar connections with the Israeli government (all in the wake of Israel’s actions in Gaza); and around the same time, violent protests erupted over Exhibit B, the installation-exhibition staged by South African Brett Bailey using black performers as human exhibits to highlight slavery and racism.