Moonfleece - embrace a fascist style and a philosophy based around preparing for an inevitable apocalypse. When the narrator tries to join the gang they have a brutal way of initiating him.
Writing down what I think about theatre I've seen in That London, whether I've been asked to or not.
Tuesday, 28 February 2017
Friday, 24 February 2017
Theatre review: A Midsummer Night's Dream
Twelfth Night, last year saw A Midsummer Night's Dream even more overexposed than usual, so I was approaching it with some trepidation. Added to that was the publicity promising a particularly dark approach to the play, a cliché that can usually be taken as meaning "we failed to actually make it funny," and in any case the nightmare flipside of the Dream is frequently-explored territory. In the runup to a royal wedding Hermia (Jemima Rooper) and Lysander (John Dagleish,) whose love is forbidden, escape the threat of death by fleeing to the forest. They're pursued by Demetrius (Oliver Alvin-Wilson,) in love with Hermia, and Helena (Anna Madeley,) in love with Demetrius.
Posted by nick730 at 22:40 No comments:
Labels: Aaron Heffernan, AMND, Anastasia Hille, Anna Madeley, Jemima Rooper, Joe Hill-Gibbins, Johannes Schütz, John Dagleish, Leo Bill, Michael Gould, Oliver Alvin-Wilson, William Shakespeare
Thursday, 23 February 2017
Theatre review: Twelfth Night (National Theatre)
Posted by nick730 at 23:37 No comments:
Labels: Adam Best, Daniel Ezra, Daniel Rigby, Doon Mackichan, Oliver Chris, Phoebe Fox, Simon Godwin, Soutra Gilmour, Tamara Lawrance, Tamsin Greig, Tim McMullan, Twelfth Night, William Shakespeare
Friday, 17 February 2017
Theatre review: Spring Awakening
DISCLAIMER: Drama school productions are classed as amateur performances; but as ever, I try to treat them the same as I would professional ones as that's what the cast will be aiming to do next.
Thursday, 16 February 2017
Theatre review: School Play
Tuesday, 14 February 2017
Theatre review: The Pitchfork Disney
Doctor Faustus my Stinker of 2016. Perhaps Lloyd himself feels the scale of things had got a bit out of his control because his first few projects of 2017 see him taking a step back towards something a bit more intimate - although not necessarily low-key, as he opens a mini-season of Philip Ridley plays at Shoreditch Town Hall with the playwright's 1991 debut, The Pitchfork Disney. Presley (George Blagden) and Haley Stray (Hayley Squires) are 28-year-old twins and the only survivors of the apocalypse - at least that's the story they tell themselves to justify their childlike lives cloistered in an East London flat. In fact ever since their parents died a decade ago - probably murdered, possibly by Presley - they've retreated into a co-dependent world of dark fairytales, drugged into sleep much of the time and hardly going out except to stock up on the chocolate that seems to be all they eat.
Friday, 10 February 2017
Opera review: The Depraved Appetite of Tarrare the Freak
inspired by a true story, and something of a medical mystery, from 18th century France. A young man known only as Tarrare had a constant hunger, and a bizarre digestive system that allowed him to swallow almost anything in an attempt to satisfy it. He smelled bad, never gained weight, and was a subject of fascination to surgeon Baron Percy, who tried everything he could think of to cure him but failed - the framing device is his autopsy, in which Percy is searching for a golden fork Tarrare said he swallowed and was the cause of his death - but which was never found.
Thursday, 9 February 2017
Theatre review: The White Devil
The Duchess of Malfi and now returns to the convoluted plots of John Webster for The White Devil - a play that's always failed to make much of a lasting impression on me, and although well-done I don't think Annie Ryan's production will change that too much. Joseph Timms plays Flamineo, who's so sick of not being rich he's willing to pimp out his married sister Vittoria (Kate Stanley-Brennan) to the wealthy Duke of Brachiano (Jamie Ballard.) But Brachiano becomes so enamoured of Vittoria he has her husband and his own wife murdered so they can be together. It backfires when Vittoria is accused of the murders and sent to a home for repentant prostitutes. While the family try to get their good name back, the dead Duchess' brother Francisco (Paul Bazely) plots revenge on Brachiano and all those who helped him.
Tuesday, 7 February 2017
Theatre review: Run The Beast Down
Foxfinder and We Know Where You Live there's a sense of déjà vu when the animals turn up again in Run The Beast Down. Director-turned-writer Titas Halder offers up a long monologue for Charlie (Ben Aldridge,) an obnoxious city trader and hipster who, in the opening scene, loses his job and his girlfriend in quick succession. In seven chapters told out of chronological order, he tells us about how things started to fall apart both at work and in his relationship; and once he's stuck at home with nothing to do, his breakdown takes the form of an obsession with the foxes screaming outside at night.
Monday, 6 February 2017
Theatre review: Sex With Strangers
Friday, 3 February 2017
Theatre review: The Glass Menagerie
Wednesday, 1 February 2017
Theatre review: Buried Child
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