Why A Berlin Kabaret and why now? Berlin’s Kabaret came out of very particular times. But those drawn to it didn’t just live through their own dark times. They have things to impart to us about our world now. None more so than Bertolt Brecht.
Merryn Williams is reminded of some traditional poetic virtues when reading the latest book by Simon Curtis.
For their final culinary delight this summer, Shakespeare’s Globe have served up something very gamey and `high’, a modern day `remix’ of Euripides’ The Bacchae.
Susan Glaspell was a contemporary of Eugene O’Neill and one of the co-founders of the Provincetown Players, the group that championed O’Neill. O’Neill went on to greatness. Glaspell disappeared into the mists of history until re-discovered by Walters with the help of American female academics. Springs Eternal was Glaspell’s final play, never performed. Walters’ production at the Orange Tree is therefore its World Première.
Although very different in tone, the recent collections by Kathryn Maris and Maitreyabandhu have more in common than first appears
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.
Alan Murray’s Perhaps turns out to be a very substantial slim volume
Leah Fritz warms to Norbert Hirschhorn’s fresh poetic treatment of Jewish traditional songs
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.
Norbert Hirschhorn detects a Dali-esque streak in David Shook’s first collection
Thomas Ovans reflects on two poetry collections which take their inspiration from the past.
Chris Beckett follows the twists and turns of a collection that is both playful and serious…