The Damned United, Pleasance Theatre

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By an anonymous guest critic

There are few sadder sights than two old blokes trying to describe their team scoring a goal. Yet in Red Ladder’s production of The Damned United, we are subjected to this sight a few times. And this isn’t even the worst of its crimes.

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Hansel & Gretel, Museum of Childhood

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I’ve never been to the V&A’s Museum of Childhood, let alone after hours. But in the expansive hall and gift shop, one corner has been set up as a playing space for Popup Opera’s Hansel & Gretel. There are shelves of toys and other souvenirs behind us, and sterile glass display cases behind the stage. Our cozy pocket in the grand room has a sinister gloom surrounding what with the autumn evening’s quickly fading light. It’s a suitable space for a story that mostly takes place in the woods overnight, when fairies and witches come out to play.

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Changelings, Edinburgh Festival Fringe

Mowgli, a ferocious boy-child raised by wolves in the jungle, has been kicked out of the pack. He’s trying to figure out what to do next when he meets a mysterious creature from another world – or rather, another story. Puck has been watching Mowgli with unusually keen interest, so the two might be able to help each other out.

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The Passion of the Playboy Riots, Hen & Chickens Theatre

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by guest critic Maeve Campbell

Backstage during three momentous Abbey Theatre productions, W.B Yeats’ Cathleen ni Houlihan (1902), J.M Synge’s Playboy of the Western World (1907) and Sean O’Casey’s The Plough and the Stars (1926), Yeats and Lady Gregory ponder the state of the Irish nation, and are every time interrupted by future revolutionary Patrick Pearse. An interesting idea, but not fully realised in Neil Weatherall’s The Passion of the Playboy Riots.

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Care, Courtyard Theatre

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by guest critic Harry McDonald

Time passes and we pass with it, but how do you measure getting older? Do you read wrinkles or responsibilities? Or did you never learn to read?

The Courtyard’s revival of Roy Mitchell’s Care, last produced in 1983 at the Royal Court Upstairs and now presented by the Angus McKay Foundation, interrogates a fraught young couple living in Birmingham in the 1970s. Childlike in their domestic play – bouncing between football, music,  comic books and sex – each lover attempts to survive the other’s presence over a long Easter weekend. And yet there is a third person present. Don’t children always make the scariest ghosts?

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