Truth to Power Café. Review by Barbara Lewis. Jeremy Goldstein is celebrating the 20th anniversary of his company London Artists Projects, whose missions include taking his “Truth to Power Café” across the world.
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Macbeth. Review by Barbara Lewis. The vocation of the HandleBards touring theatre company is to share a love of Shakespeare through sheer entertainment in settings that range from the classroom to country estates on summer’s evenings. That means comic relief prevails over tragic significance even when the chosen drama is The Scottish Play.
Leon Spilliaert. Review by Barbara Lewis. Insomniac and largely self-taught artist Leon Spilliaert is the master of absence, silence and solitude. His best-known evocations of emptiness are coastal scenes in his native Ostend informed by nocturnal wandering through the deserted port.
Romeo and Juliet. Review by Barbara Lewis. Even in times when women are cast as Shakespeare’s Lear and Prospero, it’s a bold move to do the same with Romeo – the byword for the romantic male lover. It’s the tactic of Greenwich Theatre’s artistic director James Haddrell, who has also dared to compete for audience attention with the World Cup and heatwave weather in what is billed as fresh, summer Shakespeare.
Refik Anadol. Review by Barbara Lewis. Bruges has no need of more tourists and its art hall BRUSK, which opened in May, does not share the ambition of Bilbao’s Guggenheim to put a city on the map.
How to Make a Mess. Review by Barbara Lewis. Not the Bible, not “Winnie the Pooh” not even Harry Potter – “How to Eat” was the book the loving father of Anna (played by Natasha Karp) gave to his daughter to learn to read and as a life manual.
Shantify. Review by Barbara Lewis. For anyone who thought the modern wave of enthusiasm for fishing songs had crested with the lockdown singing postman, “Shantify”, uttered in an awed stage whisper, is here to prove them wrong.
Connected Worlds of Bruges. Review by Barbara Lewis. As part of the constant flow of luminaries in and out of the cultural and commercial hub of 16th-century Bruges, Henry VIII sent Thomas More there in 1515 as part of a diplomatic mission to settle trade and financial disputes. His visit to Flanders was also when More began his classic work “Utopia”.
Quartet in Autumn. Review by Barbara Lewis. Lonely, unloved women are the protagonists of Barbara Pym’s novels. The brave honesty of her subject matter led some publishers to reject her, although the poet Philip Larkin was famously among her advocates.
No Ghosts. Review by Barbara Lewis. Something is so wrong with contemporary life that even the ghosts have stopped haunting it – and yet “No Ghosts” is not so much about the supernatural, or the lack of it, as about the intensely emotional nature of human friendship in early adulthood.
A Sunday of Sondheim. Review by Barbara Lewis. Max Eade, nominally the director, who tells us he is really just the organiser, says he wanted this small-scale performance in the intimate space of the Union Theatre to be imperfect; a matter of “scribbles on a page”.
Dido and Aeneas. Review by Barbara Lewis. Singer and director Marcio da Silva opens his version of Purcell’s only fully sung opera with a request that the audience vote on who takes the role of Dido. It felt at first like a gimmick, at odds with high tragedy, and yet it takes on a serious purpose: we, like the gods, or the fates, or Purcell’s witches, are the arbitrary deciders of one human’s destiny.
By Barbara Lewis • added recently on London Grip, music, opera, performance, theatre • Tags: Barbara Lewis, music, opera, performance, theatre