Three decades after the miners’ strike of 1984, families in northern England are riven because relatives crossed the picket line.
theatre
From big budget to fringe to retro to quirky and ironic, musicals have swept the London stage as a feel-good formula destined to pack houses. A gothic rock musical that requires a team of cleaners to de-gore the stage after the first half and should include earplugs in the programme just could become a cult.
The Welsh National Opera version of Puccini’s Madame Butterfly, established in the 70s by director Joachim Herz, on the basis of meticulous research, and now directed by Sarah Crisp, delivers pure emotion with devastating directness.
Either ultra-topical or else historic with contemporary resonance are the smart choices of subject matter for any playwright seeking to thrill an audience. The building of the Burj Khalifa in Dubai, the world’s tallest structure, falls somewhere in between, given that it opened in 2010 and the maltreatment and suicides of its construction workers are old news.
Even in times when rehash is more common than originality, the risk with a revival of Burt Bacharach’s late 1960s musical Promises, Promises, in turn based on Billy Wilder’s 1960 film The Apartment, is that it feels doubly derivative.
Adaptations of Charles Dickens’ Christmas Carol began around 30 years after his death and proliferated during the 1930s and 40s with a wealth of radio productions, notably one featuring Orson Welles and sponsored by Campbell’s Soup.
For the non-initiate, The Beastie Boys were a group of white New Yorkers who made the leap from punk rock to hip hop. The result was the number 1 hit Licensed to Ill and an opening up to the white suburbs of a previously black musical phenomenon.
John Lucas is entertained by Keith Hutson’s collection of poems about music hall – and by the performers who appear in it
Of all Shakespeare’s plays, the problematic Taming of the Shrew lends itself to tongue-in-cheek adaptations. Already a play-within-a-play in the original version, framing Shakespeare’s account of the shrewish Kate and her borderline-abusive Petruchio with a backstage broken romance ratchets up a notch the already absurdly charged sexual tension.
One of the most vexed questions around prostitution today concerns the legal status and rights of sex workers. Feminists and policy makers fall into two camps.
Ex Machina/Robert Lepage: Needles and Opium Barbican Theatre, 7 – 16 July 2016
. Kate Saffin & Heather Wastie commemorate the lives of women recruited to work on Britain’s canals during World War 2
By Michael Bartholomew-Biggs • history, performance, theatre, travel, year 2017 • Tags: history, Kate Saffin & Heather Wastie, performance, theatre, travel