Hir, Bush Theatre

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Issac is returning home after a three-year stint as a US marine where his job was to pick up body parts after front line attacks. He longs for the peace and quiet of his nuclear family and the familiarity of middle America so he can make peace with the demons of war. But on opening the door of the house he grew up in, he discovers a revolution has taken place on the home front. After a stroke turned his father into a near vegetable, his mother is avenging years of abuse. His sister Maxine has transitioned to Max. Both mom and Max have rejected social conventions and are living in an anarchic mess of laundry, dishes and socio-political soundbites.

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Blondel, Union Theatre

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I am often impressed with theatre’s ability to transform the most serious of topics into bouncy, chirpy musicals. Tim Rice and Tom Williams looked to the Crusades for their comedic tale of Richard I’s court musician, Blondel, but discarded much of the history. This 1983 show has some great numbers, but its frivolity and insubstantial book focusing on a personal journey rather than the larger political landscape is diminutive rather than powerfully sweeping. This is no Les Mis or Miss Saigon; it is instead an under-developed documentation of a rise to fame – but it still has its moments of fun.

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Hamlet Fool, Lion & Unicorn Theatre

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A lesson: always read press releases in full. Why? Because you might turn up to a show and discover it’s performed in Russian (when you don’t speak Russian). At least in this instance knowing the source material for Hamlet Fool, a one-woman street performance style retelling Shakespeare’s classic, provides a base knowledge.

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My Country; a work in progress, Theatre Royal Stratford East

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After 52% of 72% of the British voting population voted to leave the EU, Rufus Norris’s concern that London theatre was out of touch with the majority of British people drove him to launch a nationwide project of listening. He sent a team of ‘gatherers’ to all corners of these sceptered isles, and they collected 70 interviews from people up and down the country. The transcriptions combined with text by Carol Ann Duffy gave birth to My Country; a work in progress.

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The Kite Runner, Playhouse Theatre

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By guest critic Alistair Wilkinson

A father and a son. Two best friends. Immigration, refugees and global politics. It’s the mid-1970’s and Kabul is enjoying a time of peace and tranquillity. That is until a violent war engulfs Afghanistan tearing apart the friendship of Amir and Hassan. After a terrible incident alters their life forever, The Kite Runner is a story about guilt and redemption.

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I Know You of Old, Hope Theatre

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Hero’s coffin lies in a candlelit chapel of rest, draped in lace, overlooked by a portrait of the virgin Mary. Her cousin Beatrice and her lover Claudio quietly mourn the young woman, but their friend Benedick disrupts their grief. The characters are from Much Ado About Nothing of course, but this is not Much Ado About Nothing. David Fairs rips apart Shakespeare’s script to create a totally new story with Shakespeare’s verse and characters, I Know You of Old.

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The Misanthrope, Drayton Arms

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Exchange Theatre sets The Misanthrope in a contemporary newsroom full of gossip, affairs, backstabbing and cocaine-fueled all-nighters. Alceste loathes the way his colleagues behave, but fancies the flirtatious Celimene in spite of his prejudices. His jealousy and inability to be polite to his colleagues causes a litany of issues that play out over their broadcasts, eventually leading to his lonely downfall.

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