#FinboroughForFree. Adding Machine: A Musical. Review by Barbara Lewis.
theatre
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.
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.
Bernstein’s 45-minute, one-act opera Trouble in Tahiti is his only oeuvre for which he wrote both words and music and he made the language plain to ensure realism.
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.
Theatre blogger Jonathan Baz, who rates this show as unmissable, writes in the note at the front of the programme that an audience can only fully grasp its craftsmanship on re-listening or revisiting.
Isadora Duncan (1877-1927) has been re-visioned by Viviana Durante in her new programme Don’t Let Them Tame You.
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.
David Mitchell reviews A History of Water in the Middle East at the Jerwood Theatre Upstairs at the Royal Court
#WeAreArrested
Venue: Arcola Theatre, London
Dates of run: Until Dec 7
Co-production with Royal Shakespeare Company
A Feast in The Time of Plague, Grange Park Opera online. Review by Barbara Lewis.
By Barbara Lewis • music, opera, performance, theatre, year 2020 • Tags: Barbara Lewis, music, opera, performance, theatre