Opera and cabaret singer Melinda Hughes lost her mother in June. Two months on, she has immortalised her in a song and is finding catharsis in a satirical take on the world.
theatre
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.
The idea of this drama came from an interview with a Kurdish soldier who had fled to England seeking asylum.
This was the first time I had seen this operetta and the idea of Viennese kitsch did not excite me. Director Max Webster clearly shares my antipathy for schlock. His production is a wonderful reframing of the story from a post #MeToo perspective.
Medea is perhaps the most potent myth for the #MeToo generations. First-performed in 431 BC, Euripides’ drama has had countless interpreters.
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.
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.
By Barbara Lewis • plays, theatre, year 2019 • Tags: Barbara Lewis, plays, theatre