Art is at its most powerfully dramatic when it gives voice to the oppressed. By using the device of a play within a play to utmost effect, The Island communicates the oppression of a recent generation by drawing on tragic defiance from classical times.
Richard III manages to be at once resounding royal propaganda and an unsettling reminder of the fragility of the status quo given Elizabeth I’s lack of an heir: the Tudors had rescued the kingdom from the murderous House of York, but they hadn’t secured the future for long.
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.
Romeo Castellucci at Brussels’ La Monnaie (De Munt in Dutch) opera house takes a real-life sufferer of locked-in syndrome and turns her into the protagonist of Ophee et Eurydice (adapted by Hector Berlioz from Gluck).