politics
aleks.sierz
Prolific playwright James Graham aspires to be nothing if not timely. His latest, a play about the Labour Party, was originally due to open during the week of that party’s conference, when our ears were once again ringing to the chant of “Oh, Jeremy Corbyn!” Unfortunately, the play’s TV star Sarah Lancashire had to pull out, so its West End opening was delayed until tonight. Her replacement, Tamsin Greig, joins Martin Freeman in this epic comedy about a Labour MP in an era of change. It’s a starry cast, but does the play’s content live up to its billing?Opening with familiar chords of the Read more ...
David Kettle
The Reagan administration produced as much video content as the previous five administrations combined. That’s the claim early on in The Reagan Show, an engaging but ultimately frustrating documentary compiled entirely from archive footage by co-directors Sierra Pettengill and Pacho Velez. So remorseless was the administration’s taping of carefully staged scenes or managed press conferences that it even got its own name – White House TV.And if JFK was the first US president to harness the power of television, then Reagan was the first to embark on a concerted attempt to manipulate the broader Read more ...
aleks.sierz
Documentary theatre has a poor reputation. It’s boring in form, boring to look at (all those middle-aged men in suits), and usually only tells you what you already know. It’s journalism without the immediacy of the news. But there are other ways of writing contemporary history. In telling the story of the 1993 Oslo Accords – the first ever agreement between the State of Israel and the Palestine Liberation Organisation – American playwright JT Rogers gets around the disadvantages of documentary theatre by writing what he calls “a scrupulously researched, meticulously written fiction”. And he Read more ...
Liz Thomson
We are now firmly in the post-truth era as defined by Oxford Dictionaries: "adjective - relating to or denoting circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief." Never have we been more in need of honest discourse, but dishonesty – or what Alan Clark memorably described as “being economical with the actualité” – has somehow become the order of the day.We don’t expect honesty from Fox or the Daily Mail but other media sources we once believed existed to tell the truth no longer feel compelled to do so: The Times Read more ...
David Kettle
You’ve got to hand it to David Greig. The artistic director of Edinburgh’s Lyceum Theatre has shown quite a knack for surfing the zeitgeist with his programming – and more importantly, tackling urgent political issues in a properly theatrical way.He did it with last year’s season opener, Aeschylus’s The Suppliant Women, and its parallels with today’s refugee crises. He did it in August with Rhinoceros for the Edinburgh International Festival (a production that returns to the Lyceum in February), Zinnie Harris’s new Ionesco adaptation as a thinly veiled critique of Trump and how easily people Read more ...
Barney Harsent
Journalist Mark Austin is no stranger to conflict, having reported from war-torn landscapes including Rwanda, Iraq and even the ITN newsdesk. However, when the battle lines were drawn closer to home and involved an enemy he couldn’t see, the veteran journalist found himself in unfamiliar territory and without any kind of roadmap. When his teenage daughter, Maddy, was suffering from anorexia, Austin, by his own admission, was found wanting, not knowing what to do and struggling with a situation he didn’t understand and could do little to influence. This Channel 4 documentary seemed Read more ...
Demetrios Matheou
When An Inconvenient Truth won the best documentary Oscar 10 years ago, the film’s success marked two significant events: a positive turning point in the campaign to avert environmental catastrophe; and the resurrection of the public career of Al Gore, after his presidential defeat at the hands of George W Bush. It also happened to be a very good documentary.That first film galvanised both debate and action related to climate change. The aim of the cutely titled second has a textbook campaigning duality: to trumpet the efforts and successes of the past decade, while reminding Gore’s growing Read more ...
Jasper Rees
It was only at the dawn of the Blair age that Peter Kosminsky truly emerged as a basilisk-eyed observer of the nation’s moral health. By the time New Labour came to power in 1997, Kosminsky had been working for several years on a film which was eventually broadcast in 1999. Warriors, an award-winning account of the traumatic fallout of peacekeeping in Bosnia, served as a prequel to a trilogy of films in which he tracked the ethical degradation of the Blair decade.In The Project (2002) he dramatised the curdling of idealism occasioned by Millbank’s win-at-all-costs skullduggery. The Government Read more ...
Jasper Rees
The name will never trip off the public tongue. Millions watch his work - most recently his superb realisation of Hilary Mantel's Wolf Hall. But there is no hall of fame for television directors. It’s only on the big screen that they get to be big shots. The difference with Peter Kosminsky (b 1956) is, although it’s the title he takes in the credits, he's not really just a director. In the last 25 years he has researched, storyboarded and painstakingly cajoled into existence a body of work which, for sheer linearity of purpose, stands comparison with, say, Anthony Powell’s 12-volume portrait Read more ...
aleks.sierz
A new plague is sweeping British theatre: audience participation. Instead of just sitting back and enjoying the show, your visit to a venue is now likely to involve voting on the guilt or innocence of terror suspects (as in Terror or Blurred Justice) or, in Rob Drummond’s new solo show for the National Theatre, voting on a whole range of issues as this Scottish playwright and performer teases out a handful of ideas about democracy. The first step is technological: as we take our seats, we are issued with a small voting machine (you press one for yes and two for no) and given our instructions. Read more ...
David Nice
"Ura!" as soldiers cry in Russian epic opera's last fling, Prokofiev's War and Peace: supertitles have arrived at the Proms, after much special pleading here and elsewhere. They're needed more than ever in Musorgsky's typically quirky survey of rival interest-groups at the beginning of young Tsar Peter I's reign, though I like to think that newcomers to Khovanshchina ("The Khovansky Business") would have got the message about each formidable personage and scene without them, so vivid was this realisation of the way Musorgsky characterises roistering princes, humble scribes and calm Old Read more ...
Susan Sheahan
Much loved, yes. But Dickens’s novel is probably little read by modern audiences and so a chance to see a new adaptation of this tale of discontent, riot and general mayhem set in the French revolution and spread across London and Paris in the late 1700s should be a genuine treat for theatregoers. And on paper Matthew Dunster’s version for Regent's Park of this intense exploration of injustice (billed, in fact, as "a new play") has it all: love, death, comedy, revolution and the promise of a provocative exploration of the underlying issues of power, oppression and tragedy connecting how we Read more ...