First, the inevitable name check: Angels in America, Tony Kushner. Well, how can it be avoided when you are dealing with a play that runs for over six hours, in two three-hour parts, that includes a hefty slab about the Aids epidemic and the decimation it caused amongst gay men in the 1980s. Continue reading →
Seiriol Davies’s How to Win Against History is not quite like anything I’ve ever seen before. But then again, it is. A pastiche, a satire, a brilliant piece of aesthetic camperie on a par with some of the best, wackiest shows of the alternative, gay scene of the late 1980s and ‘90s by such as Bloolips with the inimical Bette Bourne, Davies is absolutely in the tradition of Lindsay Kemp and probably Oscar Wilde – had Oscar performed as much as written. Continue reading →
Forty one years ago, US playwright Arthur Kopit’s father had a catastrophic stroke that rendered him speechless.
Out of that family disaster, Kopit (who wrote books for the hit musicals Phantom, Nine and High Society as well as the memorably crazed Ah Dad, Poor Dad, Mamma’s Hung you in the Closet and I’m Feelin’ So Sad) wrote Wings. Continue reading →
Clever programming from David Lan has delivered exactly the right kind of play at the right time. Whatever you may think about Bertolt Brecht’s more doctrinaire views, here’s a play in Joe Wright’s visually spectacular, star-gazing production that says exactly what needs to be said for a society reeling from and dominated by self-interest and finance
It’s funny the way some productions just stick with you. A couple of decades ago at least, I saw a production of Schiller’s The Robbers at the Gate Notting Hill. I think there was also a Buchner’s Woyzeck there at about the same time (though my own records don’t go that far back or if they do, they’re currently inaccessible). Continue reading →
As fourteen children from the Calais `jungle’ arrive at Croydon for `processing’, one can only imagine some of the journeys and experiences that have brought them to this point. But that imagination will be helped on its way by viewing A Man of Good Hope, the latest and perhaps most remarkable music theatre from South Africa’s Isango Ensemble. Continue reading →