Thomas Ovans wonders if David Perman’s new collection is being knowingly undersold by its own cover
Two recent Shoestring collections from Anna Adams and Tony Roberts earn the approval of Merryn Williams
Anna Robinson’s half-fantasy, half-dream poem sequence strikes a chord with Richie McCaffery
The première of Verdi’s Otello at ENO was also a celebration of director David Alden’s 30th anniversary at the opera house. American lyric soprano is a rich-voiced Desdemona making her UK debut. Australian heldentenor, Stuart Skelton is a charismatic Otello who is matched outstandingly by Jonathan Summers’ cool Iago. This is a magnificent production.
Thomas Ovans finds that Josh Ekroy’s military-related poems usually hit their target
This highly energetic musical theatre piece is a strong political theatre event. Set at the start of the Vietnam War, it explores a fraternity’s sexual initiation and their journey into the hell so many young Americans suffered in the mindless war against Vietnamese communism.
Plum Busby’s Sunday Lunch Extravaganza! Plum Busby, an eclectic hotch potch of Folk, Blues, Jazz, Calypso, Country, Music Hall and idiocy return. It’s a plum jam!!
* This issue of London Grip features new poems by: *Wendy French *Peter Kennedy *Teoti Jardine *Rob Yates *Jan Hutchison *Mohammed Kamran *Antony Johae *Nancy Mattson *Ian C Smith *Mary Franklin *Colin Bancroft *David Flynn *Christopher Mulrooney *F M Brown *Sarah Doyle *Allen Ashley *Robert Nisbet *Michael Thomas *Kerrin P Sharpe
Josh Ekroy takes a thoughtful look at a poetic military memoir by Nigel Pantling
This evening’s programme was performed by the Royal Scottish Orchestra. Samuel Barber’s lyrical Violin Concerto, with a stunning performance by Vadim Gluzman, was the prelude to an evening which was more of a war cry than a polished musical offering.
First & second opinions: John Harvey’s latest poetry collection is reviewed by Rosie Johnston AND by Norbert Hirschhorn
This piece was premièred in Wuppertal over six years ago but is a UK première in Edinburgh. It is poignant that this was made just before Bausch’s sudden death on 30 June 2009.