Poetry review – IN ORBIT: D A Prince is intrigued and even unsettled by the way Glyn Edwards deals with themes of grief and love
year 2023
As You Like It. Review by Barbara Lewis. The line “ripeness is all” from Shakespeare’s tragedy of old age Lear could easily be the motto of the RSC’s latest joyful version of one of his most youthful comedies of love.
Poetry review – IMPERFECT BEGINNINGS: Anne Ryland is touched by the powerful and painful poetry in this collection by Viv Fogel
The Driver’s Seat. Review by Alan Price. On its release in 1974 “The Driver’s Seat” did badly commercially and critically. Today it will probably fascinate, engage, repel, disturb, disarm and draw you into its own world.
Poetry review – FIVE FIFTY-FIVE: Edmund Prestwich finds many reasons to admire Maura Dooley’s collection
Poetry review – AFTERTHOUGHTS: Charles Rammelkamp finds wit and wordplay in Tony Dawson’s poetry
Poetry review – KEEPING IN STEP: Rennie Halstead explores the many themes and moods in John Mole’s latest collection
Poetry review – AGAIN BEHOLD THE STARS: Emma Storr admires a prize-winning historical sequence by Alex Josephy
Poetry review – THE INTERPRETATION OF OWLS: John Forth enjoys an immersion in a substantial and very well curated selection from John Greening’s work
Poetry review – ANAHO: Daniel Barbiero reviews a new collection of poems of place composed by Stephanie Sears
Poetry review – HAIL SISTERS OF THE REVOLUTION: Kelly Davis admires Caroline Gilfillan’s tribute to a 1970s band of freedom fighters
Candide, WNO. Review by Barbara Lewis. Too messy, too long, too anti-Semitic, too misogynistic: there are many reasons to avoid Bernstein’s Candide. And yet, director James Bonas and the Welsh National Opera bravely make a powerful case for staging this attack on the depravity of those in power and the futility of war.
By Barbara Lewis • music, opera, performance, theatre, year 2023 • Tags: Barbara Lewis, music, opera, performance, theatre