Hamilton, Victoria Palace Theatre

https://www.standard.co.uk/s3fs-public/styles/story_large/public/thumbnails/image/2017/12/07/09/hamilton-london-cast-3.jpg

Let’s get this out of the way first – does Hamilton live up to the hype? Yes. It’s very good. Though the revolution in the plot doesn’t influence the dramaturgy, that doesn’t mean it’s not a fantastic show that musically updates the genre and skillfully triggers a spectrum of emotions. It’s simultaneously epic and intimate, staged surprisingly simply with striking, sculptural choreography and utterly engaging throughout.

But this pro-immigration, hip-hop reinvention of the all-American musical about a country gaining independence from a distant, tyrannical overlord resonates rather differently in Brexit Britain than it does in America. Forget the NHS bus – could Hamilton be the new symbol of the Leave campaign?

Continue reading

Advertisements

Expat Underground, Tristan Bates Theatre

https://www.londontheatre1.com/wp-content/uploads/2017/12/ex-pat-underground600-min.jpg

by guest critic Kudzanayi Chiwawa

Expat Underground tells the story of a modern day Italian migrant, who having ventured to London, the “Shiny Eldorado”, finds herself struggling with the metamorphosis from Italian to British, whilst still remaining Italian – a familiar journey for many who find themselves new in London.

Continue reading

Coriolanus, Rose Playhouse

https://cdn.thestage.co.uk/wp-content/uploads/2017/09/08163029/Cori-1.jpg

by guest critic Gregory Forrest

The Rose is a unique venue: part studio theatre, part archaeological dig. Taking your seat to begin the performance, you are met with a cool breeze of black. Some sense of space exists around you, yet is imperceptible. Then, as the play begins, you are suddenly met with lights and depth and a sheer drop to a still underground lake. For this moment alone, The Rose is worth a look.

Continue reading

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

https://cdn.thestage.co.uk/wp-content/uploads/2017/03/10165417/My-Country-Dorfman-51.jpg

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.

Continue reading