The heart of darkness. Joseph Conrad’s phrase has so often been churned out to describe the troubles of Africa. But western interference has much to account for in what has happened in the past century.
Walk in the Light – National Theatre Platforms: Part 4: Centre Stage…A Celebration – Sunday, July 21, 2013, Lyttelton Theatre Carole Woddis.
Fifty years old and going strong, the National Theatre last week paid a fine and welcome tribute to black artists and their contribution to British theatre. And what a contribution they have made.
She’s become the arch villainess, on a par with Medea. The woman who eggs her husband on to dreadful acts and who we then see paying for her ambition and ruthlessness by going mad then committing suicide. Lady Macbeth. Like Richard III a walking morality lesson if not half so much fun.
London theatre is enjoying a feast of American classic and new drama at present. After Eugene O’Neill’s Strange Interlude and James Baldwin’s The Amen Corner at the National Theatre, west London’s Bush Theatre has just finished a run of Ayad Akhtar’s Disgraced whilst the West End is hosting a revival of August Wilson’s Fences.
Benjamin Britten’s Death in Venice could not be more different to the commonly associated Visconti film or Mahler music he attached to it.
Thirty seven years ago, David Edgar, wrote a play called Destiny. In it, he drew parallels between Britain of the 1970s and Weimar Germany in the 1930s.
The roads not taken. Eugene O’Neill’s 1928 Pulitzer prize winner, Strange Interlude, is full of roads not taken, sex not had, marriages not made until finally two lost souls find safe haven in each other’s arms, devoid of desire but at last, at peace.
Children’s author and Fabian, Githa Sowerby’s Rutherford & Son is the play with which she made her name in 1912. The story of a domineering father and glass factory owner, John Rutherford browbeats his three children until one by one they fly the coop.
Taken from Ibsen’s `An Enemy of the People’ (1882), David Harrower’s radical new version in Richard Jones’ smash and grab production is also perfectly in keeping with Ibsen’s intentions.
Sometimes the most powerful theatre comes not from prestige institutions or heavy-weight grant-in-aid clients but simply someone feeling they have something so important to say nothing is going to stand in their way.
China-western relationships are increasingly becoming all the rage in theatrical terms – hardly surprising since news headlines tell us day in day out about the rising tide of Sino economic influence. Writers want to get in there and discover what’s going on behind the stereotype inscrutability.
‘Race’, of course, does not exist. It is a social construct invented by white European society to place itself at the top of an imagined hierarchy.