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.
theatre
The Mikado, Wilton’s Music Hall. Review by Barbara Lewis. In 1885, when the Mikado began delighting audiences, it was expedient to set the splendidly silly light opera in Japan to give it maximum freedom to satirise British institutions. Director Sasha Regan travels in time not space to send up a 1950s public school camping trip, in its way as exotic as imperial Japan.
Gypsy, The Mill at Sonning. Review by Barbara Lewis. “Mothers out!” roars the vaudeville maestro Uncle Jocky at the start of what has been fondly dubbed “the mother of all musicals”. But Gypsy Rose Lee is one mother who is staying right beside the daughters she is determined to thrust on the stage for the career she might have had had she not been born too soon or started too late.
THREE SCORE YEARS AND TEN – Under Milk Wood seventy years on: an appreciation by Kevin Saving
Pussycat in Memory of Darkness. Review by Barbara Lewis. Kristin Milward’s performance of Pussycat in Memory of Darkness in Kyiv in December was the first visiting foreign production in the capital since the Russian invasion began in February last year.
The Human Voice, Charing Cross Theatre. Review by Barbara Lewis. It’s surely a temptation for today’s directors of Poulenc and Cocteau’s La Voix Humaine, or The Human Voice in this English version, to transpose it to the world of mobile phones. It’s one director Alejandro Bonatto wisely resists.
Love Goddess. Review by Barbara Lewis. Rita Hayworth was considered one of the most beautiful women of her day, was Fred Astaire’s favourite dance partner, and was married five times, including to Orson Welles, the man she is believed to have truly loved. She also suffered from Alzheimer’s for two decades before being diagnosed.
An Anatomy of Melancholy. Review by Julia Pascal. This is one of the most extraordinary pieces of theatre that I have ever seen. The Pit is transformed into a laboratory with audience sitting in a circle watching the interplay between science, art, music, psychiatry and clinical analysis, in a concept that links the writings of Shakespeare’s contemporary, John Burton, with Freud and 2022 explorations into the mind.
The Coral by Georg Kaiser. Review by Julia Pascal. The work explores the concept of the doppelganger and the fascination for the new science of psychiatry as well as interrogating capitalism itself.
Love’s Labour’s Lost. Review by Barbara Lewis. In our angst-ridden age, the thirst for the tonic of musical theatre seems almost unquenchable. In a production that acknowledges so vividly the follies of the supposedly scholarly elite, the rustics dazzle.
Poetry review – PERFORMANCE RITES: James Roderick Burns admires Barry Smith’s exploration of the overlap between art and nature
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