In The Machine Stops E. M. Forster unusually abandons his general milieu of the genteel classes and takes a look at a supposed future – the theme of connection, however, is still very much in evidence as he examines a world that is literally falling apart.
Broadcast on the fifth anniversary, one cannot but conclude that Grenfell, Scenes From The Enquiry is a devastating critique of a system which put money before people and allowed a tragedy which claimed the life of 72 victims to take place.
Voted back into power three times, Tony Blair left office with the accusations of being a manipulative liar ringing in his ears – not that that has ever slowed down the current incumbent. And it is this almost Shakespearian trajectory of the tragic hero gone to the bad which forms the backbone of Tony! at the Park Theatre.
Based on a true story Kabul Goes Pop: Music Television Afghanistan concentrates on the period in the early 2000s when the Taliban in Afghanistan had been pushed back following Western liberation/invasion – depending on your point of view.
Certainly a powerfully realised piece of drama, Mission at The Big House is all defiantly obscure, though it clicks into place eventually, and you cannot help but admire the skill that goes into the piece.
I’m not sure whether I’ve actually been to Woking. It’s that sort of place – although how I’d know that if I’ve never actually been there, I really couldn’t say. I suppose it’s all because of its association with safe middle-class surburbia.
After a trying day (don’t ask), it was particularly pleasing therefore to unwind with Sasha Regan’s All-Male HMS Pinafore at Wilton’s Music Hall in the East End.
Kipps – The New Half A Sixpence Musical is “new” in the sense that it’s an updated version of a musical first performed in the early 1960s to showcase the singing, dancing and banjo playing talents of Tommy Steele.
A full-on immersive event – part play, part museum exhibit, part theme park ride and part party.
Remembrance Day seemed a perfect moment to review a production set just before and during the First World War, Hugh Salmon’s finely rendered Into Battle.
I remember a student I was once trying to get to read more saying “What’s the point, there are just too many books”. Perhaps I’m beginning to have the same reaction to digital theatre – there’s so much more of it out there than I had ever anticipated and although I think I can claim I’ve covered a fair amount of ground there is still plenty to get to grips with.
New online theatre material keeps popping up all the time – or at least it eventually comes to my attention which amounts to much the same thing; this latest one did so by a somewhat circuitous route. My Boy Danny played at this year’s recent Camden Fringe as an online stream, but I managed to muddle the dates and therefore missed it.
It’s been a while since I’ve reviewed one of the many shows which youth theatre Chickenshed put out during the pandemic. In fact, their last released piece came out in May so apologies to them for getting to this so late on. As with some of their previously released pieces it’s one of their boldly reinvented Christmas shows, this time from 2012.
It is not with a little sense of surprise that I found myself yesterday experiencing my 800th online production which is the subject of this review. Back in April 2020 I, probably along with the vast majority of people, was only expecting the virus problem to last a matter of weeks and yet here we are and here I am still reviewing daily after 535 days.
The Greek myths have endured across the centuries partly because they are timeless stories that can be endlessly updated and reinvented.
As it’s a recorded stream, you’re at liberty to choose your own encore moments and replay any numbers which particularly take your fancy – and there are bound to be several of those.*
The twin themes of social justice and climate activism are explored in this piece from Fehinti Balogun/Complicité.
Do these two pieces push the idea of audio theatre to its limits? Probably and the results are highly pleasing
The first tranche of Young Vic Digital consists of pieces written in response to a main house production. Here they are in chronological order of the time the original plays were written.
Siobhan Bremer’s A Theatrical Life is very much a piece which will more readily appeal to members of the profession and those interested in the mechanics of the business called show.