This revival of Sarah Daniels’ 1983 feminist classic, Masterpieces, is Neil McPherson’s latest good idea. It’s a play that is often seen, in textbooks, as typical of a militant femintern style of theatre-making so, in the #MeToo moment, it now acquires a renewed relevance.
Not even an authentic and stylised production and strong performances can cover up a meaningful but messy look at women in society. With some editing, Masterpieces could be improved immensely.
Women and modern warfare. Women have fought to be treated as equals on the front line. A question of equality. The corollary to that is, they are open to being just as badly injured.
Theatre increasingly uses digital delights to enhance audience enjoyment. And you can easily see why.
In Kate Fleetwood, Ugly Lies the Bone has the kind of hypnotically magnificent performance that almost makes you forgive any or all shortcomings.
Full casting has been announced for the upcoming European premiere of Ugly Lies the Bone at the National Theatre. The play, which stars Kate Fleetwood, marks the UK debut of award-winning American Lindsey Ferrentino.