Fiona Sinclair is not usually a fan of ‘nature’ poetry but makes an exception in the case of Gordon Meade’s new collection
Noel Coward wrote of his musical Ace of Clubs that “the idea is to do it as simply as humanly possible”. For the first professional London revival since the original 1950 production, Southwark’s Union Theatre draws on its decade of experience of producing loveable, low-budget musicals and takes Coward at his word.
If you step outside the hallowed circle of inner London theatre you come across some amazing treasures. The Arcola in the East End, in Hackney, is one such.
Emma Lee considers two rather contrasting collections by W D Jackson & Rennie Parker
Emma Lee identifies skilful accumulation of detail as one of the strengths of Clare Crossman‘s new collection
No city is a single place; each one contains others within itself. Some of these divides are obvious – someone who’s lived on the same street for their entire life would struggle to understand the city experienced by a two-day tourist, while a single mother with two jobs might be bewildered by the one […]
Three Sisters (Wyndhams Theatre, Moscow’s Mossovet State Academic Theatre) & Three Sisters (Southwark Playhouse, London) – reviews by Carole Woddis.
What would Chekhov make of these two productions, the one from Moscow’s Mossovet State Academic Theatre, under the helm of renowned film director Andrei Konchalovsky, the other, a new adaptation by young, up-and-coming and already award-winning Anya Reiss (The Acid Test, Spur of the Moment).
Whether it’s personal, legal, or political, `privacy’ is on everybody’s mind. How much privacy do we want? Who wants it? for what purposes? And how is it to be rightfully retained or penetrated, if the Third Estate deems it necessary in the name of `public interest’.
Shearsman poet Alice Kavounas and Apple developer John Kennedy describe their collaboration and creation of a location-based app Words in Air: Poetry-in-Place.
Matisse’s Startling Late Works: The Cut-Outs. Tate Modern, 17 April – 7 September 2014 No wonder Henri Matisse is well loved. His works are sensuous, jubilant, gorgeous: they envelop and immerse the viewer in voluptuousness, in light that finds itself materialised as coloured form, coloured space.
Allison McVety’s latest collection requires – but also rewards – the reader’s careful attention.
Arthur Miller’s A View from the Bridge and Amir Nizar Zuabi’s Oh My Sweet Land may have little in common thematically. What do they share however is both being currently on show at the Young Vic, a theatre, under David Lan, whose quality of work seldom drops below excellent