Ghost Light, National Theatre of Scotland film. A theatre never goes completely dark, even in lockdown: a single light bulb, known as a ghost light, carries on glowing like a sanctuary lamp.
plays
A paradox at the heart of Beckett is that he uses art to explore the meaninglessness of human lives, when many would say the prime purpose of art is to find meaning.
Money and heroic self-sacrifice have been considered throughout history the rational motivations for risking life. In pandemic lockdown, we’re more aware of that than ever as governments weigh economic damage and national health, while workers battling on the frontline make the ultimate sacrifice.
Brontë’s angry classic, which has for decades fired up rebellious, ambitious girls and women, has found new resonance in our self-isolating times as the National Theatre at Home allows another frustrated generation to ponder its lot.
The theatrical brilliance of Endgame is thrown into relief by Jones’ decision to precede it with the rarely performed Rough for Theatre II, which Beckett is believed to have written around the same time as Endgame in the late 50s.
#WeAreArrested
Venue: Arcola Theatre, London
Dates of run: Until Dec 7
Co-production with Royal Shakespeare Company
As You Like It is one of Shakespeare’s most crazy comedies and one of his most tedious plots.
I go to Russian theatre for the performances of actors whose skills are extraordinary. Theatre of Nations’ double bill did not disappoint.
Marcus Brigstocke makes his play-writing and directorial debut as actors Bruce and Sam Alexander, father and son in real life, give drama and poignancy to a story that begins with the funeral of the father.
Chilean singer-songwriter, poet, cult figure Violeta Parra’s most famous work “Gracias a la vida” can be viewed as an outpouring of gratitude – or as a suicide note.
Joy Wilkinson’s latest play tells the story of a troupe of fictional women fighters scrabbling to earn a living in the real-life world of lady’s boxing in Victorian London and become world champion.
by Barbara Lewis • added recently on London Grip, performance, plays, theatre • Tags: Barbara Lewis, performance, plays, theatre •
The Dirty 30 II: Electric pay-per-view. Review by Barbara Lewis. Instead of loud applause and cheers, “you were spectacularly fabulous,” pops up on the side of the screen from an online viewer, as the imaginary curtain goes down on the Degenerate Fox theatre’s online adaptation to the times we’re in.