Marina Carr’s coherent vision for Blood Wedding delivers a production that is unforgiving, creating a portentous world in which notions of love and freedom will always be trampled by the stronger inheritance of history, violence and family legacy
Wicked is a modern classic which remains as strong as ever on tour. With stellar performances from a standout cast, it’s set to be ‘Popular’ with audiences throughout the land.
Is God female? It says a lot about Yaël Farber’s pompous and overblown new version of this biblical tale at the National Theatre that, near the end of an almighty 110-minute extravaganza, all reason seemed to have vacated my brain, and its empty halls, battered by a frenzy of elevated music, heaven-sent lighting and wildly gesturing actors, were suddenly open to the oddest ideas.
With a focus on Glinda and Elphaba, Wicked inverts and twists the story about the witches of Oz and, in a spectacular and poignant way, reveals an alternative perspective to the characters and our perception of good and evil. Glinda, forever loveable but not always ‘good’, becomes a character who is redeemed through her experience and the ‘Wicked’ Elphaba, endearing and resolute, struggles in a society where she is perceived as different.