There have been many plays about racism over the past half century but I don’t remember any that hit so hard, so fluently or so entertainingly as the Hull-based company, Middle Child’s The Canary and the Crow written by Daniel Ward. Continue reading →
When it comes to capturing the soul of a nation, America can certainly field some big hitters.
Last year it was the mother of verbatim theatre, Anna Deveare Smith who appeared briefly in London with Notes from the Field, a searing, intense investigation into discrimination seen through the penal and education systems – the disproportionate number of African-Americans in prison, excluded from schools and shot by police. Continue reading →
There is no one quite like debbie tucker green, no one writing with the same urgency, disquiet and plain brilliance for adjusting and changing forms. Excepting perhaps Caryl Churchill with whom she shares so many affinities in terms of political content and experimentation. Continue reading →
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 →