by guest critic Kudzanayi Chiwawa
Kim Noble, Pol Heyvaert, Jakob Ampe and the nine, young singer/songwriters they worked with describe this piece as part gig and part play, and it’s exactly that. The show unfolds as if in a radio station’s live broadcast, with a clearly confident cast carrying you through the unusual format, allowing the audience to simply enjoy it.
By guest critic Lara Alier
As I walk to my seat my feet sink in grey carpet. On stage four people sit in what it looks like an office. One of the characters, a man in a suit, tells us how one day he didn’t go to work and stayed at home in order to spend time with his family.
By guest critic Lara Alier
By guest critic Jo Trainor
Breakups suck. Unexpectedly bumping into your ex sucks even more. For exes J and K it’s even worse, because they’re unknowingly about to be set up with each other.
by NY guest critic Steven Strauss
American dramaphiles tend to view Britain as a hotbed of hyper-verbal and hyper-intellectual plays, especially in comparison to our home-bred musicals that often lack the same resonant depth. This is of course a gross over-generalization with countless exceptions, but personally, I became a card-carrying theatrical anglophile thanks to the massive transatlantic influx of Stoppardian texts in which characters talk talk talk about Serious and Important Ideas.
