In our blasé age, we may take for granted that a remote Yorkshire parsonage managed to produce three sisters who defied rigid Victorian convention to give voice to raw passions and sexual frustration no respectable woman was meant to feel.
Martin Noutch respects Ann Vaughan-Williams’ poetry for its inclusiveness that finds nothing to be unworthy of being appreciated
Its title notwithstanding, Elizabeth Parker’s new collection is far from being shambolic, observes Wendy Klein
I had the great pleasure of meeting Hugh Coltman during the Marciac Jazz festival in the South West of France at the end of July. Born in the West Country, close to Bristol, Hugh Coltman has been living in Paris since 2000.
* This issue of London Grip features new poems by: * Joan Michelson *Joe Balaz *Fiona Sinclair*Arlene Antoinette *Janet Hatherley *Valentina Colonna * Milton P Ehrlich *Pamela Job *Emma Lee *David Lockyer * Brian Docherty *Mark Young * Chris Palmer *Bruce Christianson * Marilyn Ricci * Nicholas McGaughey * R G Jodah *Myra Schneider * […]
This play is a picaresque adventure describing the life of Emilia Bassano Lanier. Emilia, born in 1569, was a direct contemporary of Shakespeare, and perhaps the inspiration of his Dark Lady of the Sonnets.
A show that leaves the line “Are you fucking kidding me?” ringing in your ears and delivers a series of morals that include “don’t pressure other people into sex because it doesn’t work” and “don’t judge people by appearances, unless they’re really hot” could cause offence.
Ovid’s Metamorphoses comprise nearly 12,000 lines and over 250 myths that have inspired more modern writers as great as Shakespeare and Dante.
The evening opened with Mozart’s Clarinet Concerto in A Major K622. This is Mozart’s last finished orchestral work. Composed in 1789, it is one of the most exquisite of Mozart’s creations. Annelien Van Wauwe’s interpretation was curiously intimate and delicate.
Wendy French responds to the compassion in Hubert Moore’s poetry
This is Shakespeare light. Very light. Antic Disposition’s presentation of Shakespeare’s 1598 comedy is aimed at touring in South West France during the summer months when Paris empties and the French take to the countryside.
The End of Eddy, Unicorn Theatre. Review by Barbara Lewis.
Under Stewart Laing’s inspired direction, four permanently-glowing screens help to convey the bigoted characters of a charmless northern French village, where violence, shame, pride, racism and homophobia form the fabric of society.