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.
theatre
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 Pink Chair, Tadeusz Kantor, The Wooster Group. Review by Julia Pascal.
Rigoletto,
Composer: Verdi
Producer: Welsh National Opera
As You Like It is one of Shakespeare’s most crazy comedies and one of his most tedious plots.
I go to Russian theatre for the performances of actors whose skills are extraordinary. Theatre of Nations’ double bill did not disappoint.
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.
By Barbara Lewis • music, opera, theatre, year 2020 • Tags: Barbara Lewis, music, opera, theatre