This is an ambitious reinterpretation of Swan Lake from a modern Irish perspective. Embedded in this ‘ballet’ is an acute critique of the Irish clergy.
Akram Khan’s new vision of Giselle for English National Ballet is a brave political reinterpretation of the nineteenth century classic, set to Vincenzo Lamagana’s modern score. Classical ballet purists may find that both deviate too far from the original but there is much to admire.
John Lucas is entertained by Keith Hutson’s collection of poems about music hall – and by the performers who appear in it
Of all Shakespeare’s plays, the problematic Taming of the Shrew lends itself to tongue-in-cheek adaptations. Already a play-within-a-play in the original version, framing Shakespeare’s account of the shrewish Kate and her borderline-abusive Petruchio with a backstage broken romance ratchets up a notch the already absurdly charged sexual tension.
One of the most vexed questions around prostitution today concerns the legal status and rights of sex workers. Feminists and policy makers fall into two camps.
Sam Shepard’s 1983 play has now become a theatre classic because of the hugely challenging roles it gives to four actors. The plot centres around the love-hate relationship between an incestuous half-brother and sister.
Grown Up explores the gap between what we teach our children and what they really want to know. We meet five young performers on a mission to understand the world around them.
Sharon Eyal danced with Israel’s famous Bathsheva Dance company and was House Choreographer from 2005-2012. It is her genius that is at the source of this compulsive modern ballet which publicises itself as being ‘about love out of sync’.
After the trauma of Kristallnacht in November 1938, British Prime Minister Neville Chamberlain was persuaded to agree that thousands of Jewish children come to Britain through a rescue effort that became known as the Kindertransport.
It’s an indictment of society when the well-born, well-bred and very carefully brought-up are willing to condemn those they supposedly love on circumstantial evidence. As a homosexual living in times that brushed him aside as a confirmed bachelor, Noel Coward more than many must have felt the urge to scandalise the hypocrites drinking tea from china cups who passed for the civilised classes.
The absurdity of preparing a role you will never perform because a God-like director never summons you is so superlatively Beckettian it’s amazing no understudy had thought of making it into a play until understudy-turned-writer Dave Hanson found inspiration while waiting endlessly in the wings. Or perhaps everyone else just baulked at the challenge of measuring themselves against Beckett’s genius, which can make the excruciating sublime.
This was my first trip to Emily Dobbs’ pop-up venue Found 111 on the Charing Cross Road. It is impressive. I had missed this play at the Edinburgh Festival in 2014 and was pleased at the chance of catching it. I was not disappointed.