sun 29/11/2020

Judaism

Rose, Hope Mill Theatre online review - a performer at her peak

Solo plays and performances are, of necessity, the theatrical currency of the moment, whether across an entire season at the Bridge Theatre or last week at the Old Vic in the too briefly glimpsed Three Kings, starring a rarely-better Andrew Scott....

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The Merchant of Venice, BBC iPlayer review – a parable on the limits of tolerance

Ah, 2015. Those halcyon days of packed theatres. Thank God the RSC had the presence of mind to film Polly Findlay’s production of The Merchant of Venice, now streaming on BBC iPlayer. Condensed into just over two hours, it’s a thoughtful take on...

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The Prince of Egypt, Dominion Theatre review - Moses musical goes big and broad

The theatre gods rained down not fire and pestilence, but a 45-minute technical delay on opening night of this substantially revised musical – a stage adaptation of the 1998 DreamWorks animated movie. But nothing could entirely halt this juggernaut...

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'You’re Jewish. With a name like Neumann, you have to be'

It was during my first week at Tufts University in America, when I was 17, that I was told by a stranger that I was Jewish. As I left one of the orientation talks, I was approached by a slight young man with short brown hair and intense eyes. He...

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Mother of Him, Park Theatre review – lean domestic drama unsure where it stands

Mother of Him was written a decade ago, but its most prescient moment happens in the first five minutes of Max Lindsay's production at the Park Theatre. Brenda Kapowitz (Tracy-Ann Oberman) presents a sheaf of papers to Robert (Simon Hepworth, ...

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Old Stock: A Refugee Love Story, Wilton's Music Hall review - klezmer revue is moving and inventive

Canadian playwright Hannah Moscovitch’s “refugee musical” – now there’s a phrase you don’t expect to write – is a treat. Harking back to the early 20th century pogroms of Eastern Europe, it’s darkly steeped in history, conveying the sorrows of...

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Falsettos, The Other Palace review - affecting search for the new normal

William Finn and James Lapine’s musical – which combines two linked one-acts, March of the Falsettos and Falsettoland, set in late 1970s/early 1980s New York – picked up Tony Awards in 1992 for its book and score, and was nominated again in...

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Magda Szabó: Katalin Street review - love after life

This is a love story and a ghost story. The year is 1934 and the Held family have moved from the countryside to an elegant house on Katalin Street in Budapest. Their new neighbours are the Major (with whom Mr Held fought in the Great War) and his...

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Fiddler on the Roof, Menier Chocolate Factory review - family matters in this sensitive musical revival

There’s a welcome alternative to panto hijinks in this gem of a Trevor Nunn musical revival – more attuned to the biting hardships of winter, and to the elegiac aspect of change, than to festive jollies. Which is not to say that there isn’t rousing...

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Disobedience review - tough love

Lesbian love in a closeted Orthodox Jewish North London community suggests a place of barriers and secrets. In adapting Naomi Alderman’s novel Disobedience for producer-star Rachel Weisz, the Chilean-Argentine director Sebastián Lelio might as well...

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1945 review - Hungarian holocaust drama

Ferenc Török is firmly aiming at the festival and art house circuit with his slow-paced recreation of one summer day in rural Hungary. A steam train stops at a rural siding, two Orthodox Jewish men descend and with minimal speech, oversee the...

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Mamzer Bastard, Royal Opera, Hackney Empire review - inert Hasidic music-drama

Striking it lucky with a successful new opera is a rare occurrence, though every company has a duty to keep on trying. The Royal Opera hit the jackpot with 4.48 Psychosis, a highly original approach to Sarah Kane's profound and authentic play by...

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