Tony Kushner's 2009 play - set two years before that - The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures gets its UK premiere at Hampstead, who've appended the alternate title iHo (you can't really tweet the whole thing, I guess.) But the full title is probably worth sticking to as the wordiness and sheer unnecessary length give a better indicator of what the play itself is like, as opposed to iHo, because it isn't actually about what would happen if Apple made prostitutes. Instead it's something of a family saga, though playing out over just a few days, set mainly in a Brooklyn brownstone that's in need of fairly regular repair but has still skyrocketed in value as the property boom gets going. Tom Piper's design puts the bare white shell of the four-story building on a revolve.
Writing down what I think about theatre I've seen in That London, whether I've been asked to or not.
Showing posts with label Lex Shrapnel. Show all posts
Showing posts with label Lex Shrapnel. Show all posts
Saturday, 29 October 2016
Theatre review: The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures
Labels:
Daniel Flynn,
David Calder,
Katie Leung,
Katy Stephens,
Lex Shrapnel,
Luke Newberry,
Michael Boyd,
Rhashan Stone,
Richard Clothier,
Sara Kestelman,
Sirine Saba,
Tamsin Greig,
Tom Piper,
Tony Kushner
Thursday, 9 July 2015
Theatre review: A Number
Caryl Churchill's A Number seems to be a popular choice for real-life father/son acting teams to take on; a few years ago I saw Timothy and Samuel West play opposite each other at the Menier, and for the latest revival at the Young Vic John and Lex Shrapnel are the father/son team-up. Although it provides strong roles, especially for the son, it still feels to me a bit of an eccentric choice to show off the family dynamic, as it portrays an especially twisted relationship. (And if you're planning on seeing it I recommend not reading the rest of my review until afterwards, as discovering the nature of the relationship is one of the play's strengths.) As the play begins Salter (John) is confronted by his son Bernard (Lex,) who's just discovered the truth about himself: He is actually Bernard 2, a clone of the first son Salter lost in a car crash. In fact as it turns out he's only one of a number of clones, the scientists having made more than requested, so they could follow their lives and discover more about nature vs nurture. But there's a lesson in that much closer to home.
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