Hysteria is a massive trick. At first it seems to be a sex comedy. Sigmund Freud meets Salvador Dali. Johnson’s deeply layered text explores theatre, dreams, fantasy, art and the sexual imagination.
Anything to do with Ted Hughes or Sylvia Plath is bound to arouse interest. So much mystery, distortion, opinion and conjecture surrounds their lives. And now into that much over-scrutinised picture one must add Assia Wevill.
Anything and everything these days seems ripe for musicalisation. After all, didn’t Stephen Sondheim turn the serial killer that was Sweeney Todd into arguably his finest musical? So now we have Titanic.
Another triumph for OUDS Thelma Holt International Summer Tour, with The Comedy of Errors – at University Church, Oxford.
At issue here is the no-win no-fee culture that has grown up specifically around compensation claims on road accidents but more generally, Payne suggests by the end in a withering diatribe, in our society as a whole – the must-have, spend-more, conspicuous consumption opium of the people de nos jours.
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.