REVIEWS Archives - Page 237 of 548

29Jan

By Mark DavorenNo Comments

REVIEWS

Carmen – The Metropolitan Opera

Carrie Cracknell’s contemporary take aims at reinvigorating this classic with its resetting to present-day America but sadly is mostly firing blanks in its representation of a world that I’m not sure most Americans would even recognise. In an unnamed town somewhere along the border with Mexico, naïve army corporal Don José (Piotr Beczała) falls head over heads in love with Carmen (Aigul Akhmetshina), a seductive and free-spirited girl working at the ammunitions factory that he and his men are guarding. Infatuated, Don José abandons his childhood sweetheart, girl-next-door Micaela (Angel Blue) and neglects his military duties only to lose the fickle Carmen to the glamorous rodeo rider, Escamillo (Kyle Ketelsen). So far so good but given that much of the allure of the original is its s...

29Jan

By Kira DanielsNo Comments

London

Northanger Abbey – Orange Tree Theatre

Northanger Abbey? I hardly know ‘er! Zoe Cooper’s transformative adaptation of Austen’s offbeat gothic satire reinvents the much-neglected classic, leaning into its absurd humor, and imbuing it with a novel gravitas. Eschewing the modernizing impulse that so often muddies queer retellings of canonical works, this adaptation remains firmly rooted in the time and place of its origin and weaves a compelling original story out of each of the book’s special strands. This play packs a punch but doesn’t quite hit the spot. Designer Hannah Sibai’s work makes a most pleasing first impression. The cozy in-the-round Orange Tree Theatre is decked out in all hot pink and bedazzled with no less than seven chandeliers. A light aroma of fog pervades the space, hinting at the gothic vibes to come in the...

29Jan

By Anisha PucadyilNo Comments

London

Heart – Brixton House

‘Heart’ is a Coming-of-age love note to the ones who are still holding on to hate and to the ones who have still not been able to take that leap of faith. It has a beating pulse of the many trials and tribulations one goes through to be able to accept oneself in all our queer glory. The debut show of Jade Anouka’ platforms her personal experience and gives it all her heart and soul. Her rhyming poetry and performance are accompanied by live music and sound design by musician and four-time UK Beatbox champion Grace Savage. It's beautiful to see Grace intently watch Jade, knowing that they must have gone over this a million times, accompanying her movement with bass, her emotion with grounded beats. It's delightful to witness the synergy they share and would love Jade to be more physic...

David Suchet Poirot and More, A Retrospective – Festival Theatre

29Jan

By Oliver GigginsNo Comments

Scotland

David Suchet Poirot and More, A Retrospective – Festival Theatre

At one point in this show David Suchet tells the audience the moment he knew he had to be an actor. He describes seeing the stage be prepared from the audience and having the epiphany that this was storytelling, that this was magic. If there was ever any doubt that David Suchet was a born storyteller, and there wasn't, then this show proves it wrong. He has that magic. Suchet has spent 25 years (or at least part of every one of them) playing Agatha Christie’s Belgian detective Hercule Poirot. His interpretation is widely judged to be the definitive version of the character, not only in its characterisation but also its scope, as the series covered all (or almost all, if we're being pedantic) of the Poirot novels and short stories and is said to always be on TV somewhere in the world eve...

29Jan

By Peter RuddickNo Comments

North West

Enough – King’s Arms, Salford

When Enough was first performed at the Greater Manchester Fringe last summer it was depressingly prescient. A play about misogyny, corruption and racism in the police less than six months after a review into the culture and standards of behaviour at the Met was published. As part of a Best of Fringe season, Enough is one of a handful of last year’s highlights being revived at the King’s Arms in Salford. The play won a Best Drama award in the summer, and it is not hard to see why. The subject matter may be, marginally, less topical but is no less important. In fact, the ‘enough is enough’ message is, arguably, even more powerful now. The attention of the headlines circus may have moved on but the issues this play raises have not been resolved. As is often the case, it is down to po...

26Jan

By Kira DanielsNo Comments

London

Last Rites – Shoreditch Town Hall

Devised and performed by Ramesh Meyyappan, this 65-minute work covers a broad swath of one family’s history. Beginning with one man’s arrival in India, accompanied by his young son, on a journey to lay his estranged father to rest, Meyyappan, the solitary performer, alone on stage throughout the show but for the most minimal of props, embodies all three generations. His performance is physically impressive and well directed by co-creator George Mann. An early comedic interlude depicting a series of cooking mishaps especially allows Meyyappan’s gifts to shine. Although rife with comedic moments the overall tone of the show is sobering, and it takes its subject matter seriously. As Meyyappan performs rituals over the body that is in turns both his own and his imagination’s, audiences are ...

26Jan

By Jackie FoottitNo Comments

Yorkshire & Humber

The Wizard of Oz – Hull New Theatre

Hull New Theatre was packed to the rafters on Thursday night for what turned out to be a magical extravaganza of colour, energy and theatrical perfection. As soon as the curtain rose on The Wizard of Oz musical, it was clear we were in for something special. The imaginative stage setting revealed a huge video backdrop which cleverly reeled us into the story - the opening sequence of a tornado just blew us away (pun intended). And this videography played a huge part in the rest of the proceedings, meaning distracting scene-shifting was kept to a minimum throughout. There can’t be a person on the planet who doesn’t know the age-old story of young Dorothy and her dog, Toto. In last night’s production, Dorothy was played by the very talented Aviva Tulles, while Toto was brought to ...

26Jan

By Alice RoseNo Comments

London

Forgiving (my mother) – The Glitch

Performed in a small space at The Glitch, this devised performance was an intimate piece set in a ‘rehearsal room’ with two actors practicing a scene with two sisters discussing their mother who had recently had a fight with them. It is as if we are with them and apart of the creative process as their character’s adapt and shape a scene of a play they’re rehearsing. The performance will stop as one actor will question why this line is here, whether that would be a true response and how thoughtless the mother seemed to be. They lead discussions about theatre and its reason, the purpose of understanding our own trauma and the hilarity of being apart of an opinion but one’s only contribution is writing a play and moving on from it. The actors are really in their element here, shaping this tex...

26Jan

By Carole GordonNo Comments

London

Rita Lynn – Turbine Theatre

Louise Marwood's one-woman performance is informed by her own lived experience, a dark tale of depression, drink, drugs and self-deprecation. "Rita Lynn" lays bare the life of an addict who struggles to break free from the grip of cocaine after her dance career has failed. Imogen has lost everything; with her drug addiction enabled by her toxic boyfriend and dealer Dexter, and her drag queen pal Melian, also an addict. Imogen spirals from overdose to overdose between occasional unsuccessful trips to AA meetings. Then, purely by accident and in a moment of drug-induced delusion, she offers to counsel a wealthy woman as a life coach, adopting the name Rita Lynn. She sees this as an encouraging new start, a way forward out of her chaotic lifestyle and a release from the trauma of her pa...

26Jan

By Mark DavorenNo Comments

London

Rusalka – Royal Opera House

Created and directed by Natalie Abrahami and Ann Yee, who is also the choreographer, the contemporary whilst still traditional new staging of this lyrical fairy tale captures nature’s impassioned plea to humanity whilst musically only Dvořák can break your heart so beautifully. From an exquisite aerial ballet reflecting the delicate balance between nature and humanity at the start, three wood spirits (Vuvu Mpofu, Gabriele Kupšyte and Anne Marie Stanley) playfully tease Vodník (Alexei Isaev), an immortal water spirit. All seems to be perfect but his daughter, Rusalka (Asmik Grigorian) longs to be united with the Prince (David Butt Philip) with whom she fell in love when he swam in the lake. Despite being warned about the seductive dangers of humanity that promises much whilst deliveri...