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.
John Forth appreciates a carefully-compiled first collection by Andrew Geary
Carla Scarano reviews Gillian Allnutt’s Wake and admires it as a study in words
Nick Cooke considers Ruth O’Callaghan’s ambitious poetic meditation on London’s immigrants
This is a remarkable exhibition: Jennie Jewitt-Harris’s intricate collages, built in many cases on a foundation of pencil and charcoal drawings of driftwood, are a delight to the eye.
There’s no other way to say it – we were in a different world – one with a clock tower and two oast houses, paved with cobble stones.
Alex Josephy sees a new chapbook by S A Leavesley as being a collection for our times
James Roderick Burns enjoys Judi Sutherland’s disciplined and penetrating poems
Peter Daniels takes note of some carefully negotiated poems from Joan Michelson
Roger Caldwell finds that Alice Major composes poetry with a brain as well as a heart
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.
By Julia Pascal • music, performance, year 2018 • Tags: Julia Pascal, music, performance