fri 07/10/2022

family relationships

The Caucasian Chalk Circle, Rose Theatre review - new production of classic proves a gruelling experience

Brecht – as I suppose he intended – is always a shock to the system. With not a word on what to expect from his commitment to the strictures of epic theatre in the programme, a star of West End musical theatre cast in the lead and a venue...

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Iphigenia in Splott, Lyric Hammersmith review - raises as many questions as answers

It’s hard to keep up with what terms are in vogue amongst those who insist on classifying and vilifying young people, but one that you don’t hear so often these days is NEET (Not in Education, Employment or Training). Back in 2015 when Gary Owen's...

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Marriage, BBC One review - a brilliantly executed drama series with a big heart

The gifted writer-director Stefan Golaszewski (Him and Her, Mum) has surpassed himself with his latest drama series, Marriage. Given hour-long episodes to play with, rather than the usual half-hour, he has created an unfeasibly rich four-parter out...

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The Tempest, Shakespeare's Globe review - occasional gales of laughter drown out subtlety

Alexei Sayle, in his angry young man phase, once said that you can always tell when you’re watching a Shakespeare comedy, because NOBODY'S LAUGHING. That’s not entirely true, of course, but sometimes a director has to go looking for the LOLs and...

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Hit the Road review - leaving Tehran for truth and freedom

The trailer for Panah Panahi’s award-winning first feature Hit the Road is one of the most misleading I’ve yet seen thanks to its jaunty Western pop soundtrack and reassuring caption that the movie resembles an Iranian Little Miss Sunshine.Yes, it’s...

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Phoebe Power: Book of Days review - the clack of walking poles, the clink of scallop shell

The word “shrine” somersaults me back to the path of the Camino de Santiago. I have lost count of the faces that smiled up from photos positioned in the hollow of trees, some with little plastic figurines for company, others set in stone next to a...

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The Darkest Part of the Night, Kiln Theatre - issues-led drama has its heart in the right place

Music plays a big part in the life of Dwight, an 11-year-old black lad growing up in early 80s Leeds. He doesn't fit in at school, bullied because he is "slow", and he doesn't fit in outside school, would-be friends losing patience with him.But he...

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The Dance of Death, Arcola Theatre review - hate sustains a marriage in new version of Strindberg classic

Rebecca Lenkiewicz's adaptation of August Strindberg's 1900 paean to the power of loathing over loving uses the now familiar trick of dressing characters in period detail while giving them the full range of the 21st century's argot of disdain and...

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The White Card, Soho Theatre review - expelling the audience from its comfort zone

We’re in New York City, in an upscale loft apartment, with that absence of stuff that speaks of a power to acquire anything. There are paintings on the walls, but we see only their descriptions: we learn that the owner (curator, in his word) really...

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Katya Adaui: Here Be Icebergs review - odd relations

The title of Katya Adaui’s debut collection in English is taken from one of the 12 short stories it contains: an allusion to the depths hidden below the surface, which is also one of the book’s central motifs.Adaui is the Peruvian author of three...

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Moon, 66 Questions review - captivating daughter-father drama

It takes some confidence for a first-time feature director to interrupt her essentially realistic first feature with a splash of psychedelic abstraction, but Jacqueline Lentzou doesn’t lack for visual or aural daring. Two-thirds of the way...

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Mad House, Ambassadors Theatre review - David Harbour is magnificent in Theresa Rebeck's family drama

For sheer extremes of family dysfunction Theresa Rebeck’s Mad House must be aiming to set new records in American drama. The latest in a line that stretches back to Eugene O’Neill, the plentiful other contenders that have appeared over the decades...

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