Despite a cracking design, White Pearl doesn’t convince as an effective play at the Royal Court.
WhitePearl’s discussion around beauty standards in the eastern market compared to the western one is complex and yet, still, incredibly similar.
White Pearl at the Royal Court Theatre, a new satire about the cosmetics industry and race, plays with stereotypes but is only mildly funny.
Five mice for White Pearl at the Royal Court Theatre because it’s different and clever and useful, and horribly good fun.
Frances Ya-Chu Cowhig’s Frances Ya-Chu Cowhig’s Snow in Midsummer is an adaptation of Yuan dynasty drama The Injustice Done to Dou E by Guan Hanqing, marking a key milestone in the venerable institution’s avowed change of policy after the The Orphan of Zhao debacle in 2012.
Katie Leung stars in the world premiere of Snow in Midsummer, a contemporary re-imagining of Guan Hanqing’s Chinese classic drama by the playwright, Frances Ya-Chu Cowhig, and directed by Justin Audibert. It runs at the Royal Shakespeare Company’s Swan Theatre in Stratford-upon-Avon from 23 February to 25 March 2017, with a press night on 2 March.
Kushner’s play has been given the moniker #iHo for short, though quite why that impulse has kicked in now is not clear, for the play is a hard-going three and a half hours full of wordily complex pontifications. The mechanics of social media aside, to suggest that it can be encapsulated in a three letter hashtag feels crudely reductive.
Hampstead Theatre presents the UK premiere of Pulitzer prize winning Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, directed by Olivier award winning Michael Boyd, which runs 15 October to 26 November 2016, with a press night on 24 October. Tamsin Greig will play the role of Empty having last been seen …
North Korea is the kind of place that haunts the imagination of the West – and not in a good way. One of the last hardline Communist dictatorships, it is also a country of immense sadness, a landscape of food shortages and human-rights abuses. Yet its regime calls this dismal place the “Best Nation in the World”. To us, it’s a secret world, a strange culture difficult to comprehend, easy to fear. Small wonder that, in American playwright Mia Chung’s 2012 play, two hungry sisters fantasise about leaving it for good.