Of all the Miller revivals currently doing the capital’s round, ‘The American Clock’ is not the softest option for any director, actor or audience to take on. Part social documentary, part human drama, part political commentary, it can feel at times like it has bitten off more vision and message than it can theatrically deliver.
It is rare to see productions of Brecht in London today. It is even rarer to see them performed in Russian.This jewel from Moscow came only briefly to London but it showed audiences that there is an antidote to endless naturalism.
by Stephanie Sears • art, authors, books, drawing, fiction, film, literature, music, painting, playwrights, sculpture, society, theatre, writing, year 2019 • Tags: art, authors, books, drawing, fiction, film, history, literature, music, painting, playwrights, sculpture, society, Stephanie V Sears, theatre, writing •
As a half French, half American individual, I give in to a pastime common to double nationals, which consists of regularly comparing both countries of origin.
One of the strengths of this piece of thoughtful social melodrama is that, by the end, any credibility stretched by the child-mob scenario is less important than the way we are moved to analyse our own response to one manifestation of historic institutionalised British child abuse.
Just as Keats’ elliptic “Beauty is truth, truth beauty” is comprehensible in context, the meaning of Che Walker’s “Time is Love/Tiempo es Amor” is made apparent by this superbly acted and eloquent 90 minutes of drama.
Tolstoy’s great, complex, genre-busting sprawl “War and Peace” is about many things, including Russian nationalism to the extent that when Hitler attacked the Soviet Union in 1941, Stalin reached for the work to promote a patriotic defence of the Motherland.
Under Stewart Laing’s inspired direction, four permanently-glowing screens help to convey the bigoted characters of a charmless northern French village, where violence, shame, pride, racism and homophobia form the fabric of society.