Merryn Williams enjoys Wendy Klein’s colourful second collection.
Robert Nisbet admires a strong and deeply touching collection by Sue Millard
* This issue of London Grip New Poetry features poems by: *Rodney Wood *F.M.Brown *Rik Wilkinson *Sissy Buckles *Robert Etty *Antony Johae *Ruth Bidgood *Elizabeth Smither *Elizabeth Barrett *Sonam Chhoki *Deborah Tyler-Bennett *Shadwell Smith *Jonathan Taylor *Bruce Christianson *Robert Peake *Robert Nisbet *Pam Job
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.
Michael Bartholomew-Biggs does his best to give an adequate appreciation of a dense, complex and rewarding collection.
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.