Many have heard of Auschwitz and Dachau but few know about Terezin close to Prague which housed an elite of European Jewish artists, musicians and writers. It was used by the Nazis as a holding station for Jews en route to the gas chambers.
This is an unusually thrilling show that is also an exciting history lesson. Few of us in the West know that the hundreds of islands that make up Okinawa were controlled by the kingdom of Ryukyu before they were absorbed into Japan in 1879.
This is a hugely funny spoof on creating a play for the Edinburgh Festival. It is a mixture of boulevard comedy, clowning and absurdism.
The Dloko High School Choir from Umlazi Township The audience went crazy for this troupe of gifted singers, especially when they sang a love song to Mandela but, for me, the performance raised certain questions.
The voice of the river in James Joyce’s Finnegans Wake adapted, directed and performed by Olwen Fouéré. Nothing can prepare an audience for the shock of this show.
In the many discussions I have listened to about how women write for the stage, there was a theory that they have a tendency to write in a circular style rather than a linear one and the structure of this script seems to prove this point.
Seamus Collins’ inventive text is a sweet curiosity about invention, language, sexuality and murder. The style is absurdist clowning but, although the production seems quite innocent, the play covers dark material about the ownership of ideas and creation.
The War. Edinburgh International Festival. Chekhov International Theatre Festival. SounDrama Studio. Julia Pascal.
This epic work is based on Richard Aldington’s Death of a Hero, Nicolai Gumilyov’s Notes of a Cavalry Officer and Homer’s The Iliad. Edinburgh was given the world premiere of this amazing spectacle.
This is a fabulously intelligent rap event which doubles as a comic lecture on religion. Brinkman is an atheist who takes on the Abrahamic religions to deconstruct and re-examine the rise in world faith.
I usually skip Edinburgh ‘comedy shows’. Happily I conquered my own prejudice. Lucie Pohl’s one woman memoir of being born in postwar Germany as the daughter of a Romanian Jew and a displaced German father, as well as being Helene Weigel’s niece and therefore part of the famed Brecht family, made me curious.
It is static. It is almost-radio theatre. It is words, words, words. It is magnificent. David Leddy’s court room drama has no witnesses, the narrative is relayed by four actors who read blind from the transcripts of a UN tribunal.
This play was first produced in 1980s London by The Women’s Theatre Group with Elaine Feinstein as the original writer. In this production it is Cambridge students who explore the latest fractured Shakespeare.