Returning to the Melbourne stage less than two years after its premiere, David McAllister’s production of The Sleeping Beauty can be appreciated not just for its luxuriously lavish staging but also for the wonderful range of supporting roles on offer.
Vs is a short but energizing piece of dance theatre. It’s fun, but it would be even more fun if it didn’t come clothed in the relentless hype that Goode and his admirers have created around the show. You are entitled to believe that queer performance is the future of British theatre, but really you can only believe that this kind of devised live art is brilliant if you have no historical memory whatsoever.
This is a pretty piece of expressionistic theatre that pleases the eyes and ears, but its favouring of poetic ambiguity and metaphor over concrete details and characterisation creates emotional distance. It’s difficult to find sympathy for a psychopath when their childhood trauma is nostalgically romanticised or vaguely alluded to when we see so little of them directly.
Inside the art warehouse space of the Invisible Wind Factory, the smell of incense, free glitter and revolving ceiling decor have already set the scene for the height of Bruno & Sandy’s seventies splendour. Glinting racks of sequinned costumes and gold discs onstage fit right in, as big seventies voices sing slow-dance songs that give way to applause for the pair’s entrance.
The Edinburgh International Children’s Festival kicked off in splendid form this year, with an opening weekend of unusual and quirky offerings at the national Museum of Scotland. This is of course the festival we have known as Imaginate for the last 25 years or so, the purveyors of quality theatre for young people – and nothing has changed in terms of innovation and attention to detail.