Adaptations of Charles Dickens’ Christmas Carol began around 30 years after his death and proliferated during the 1930s and 40s with a wealth of radio productions, notably one featuring Orson Welles and sponsored by Campbell’s Soup.
theatre
For the non-initiate, The Beastie Boys were a group of white New Yorkers who made the leap from punk rock to hip hop. The result was the number 1 hit Licensed to Ill and an opening up to the white suburbs of a previously black musical phenomenon.
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.
This was the UK premiere for the Compagnie Marie Chouinard from Quebec. She started with Soft virtuosity, still humid, on the edge – a title that means nothing in English but perhaps has more resonance in French. Happily the work was far more exciting than the title.
A new stage show by poet Martin Figura turns out to be both entertaining and thought-provoking
A dance-drama about the troubled lives of Caitlin & Dylan Thomas
In our modern, toxic world, the perfect embodiment of the endless struggle between good and evil could be the green warrior versus the polluter.
Ultimately, that’s the premise of The Toxic Avenger, the rock musical, which director Benji Sperring happened to see during one free afternoon off-Broadway in New York in 2009.
Northern Ireland’s permanent representation in Brussels periodically brings to the capital of Europe a sample of Northern Irish culture in a spirit of cross-cultural exchange that risks being disrupted in the event of a Brexit.
A trawl through an old school year book and the realisation of how many contemporaries had ended their own lives underlined for writer Pearse Elliott the truth that suicide is so prevalent it has acquired the force of the inevitable.
Embracing art’s ability to transcend national divisions, a young pan-European ensemble delivered Tchaikovsky at his most triumphantly Russian, as part of a vivacious and compelling beginning to its new season, known as the Hulencourt Art Project, which runs until May next year.
Even in times when rehash is more common than originality, the risk with a revival of Burt Bacharach’s late 1960s musical Promises, Promises, in turn based on Billy Wilder’s 1960 film The Apartment, is that it feels doubly derivative.
By Barbara Lewis • music, musicals, performance, theatre, year 2017 • Tags: Barbara Lewis, music, musicals, performance, theatre