Can anyone really accept with open arms the responsibility of another’s sensations?
“Hiroshima-style” Kagura is perhaps the hippest, most secular, crowd-pleasing style of Shinto performance in the country.
The Forest Fringe is set to challenge every convention in sight, from the role of the audience right up to what we can comfortably classify as theatre.
In February 2005 I saw the show at the Tiny Alice theatre with a real cast, real musicians, costumes, voices, singing and dancing and not once was the war mentioned.
The more people hear my voice, the more my voice becomes important regardless of what I have to say.
Google’s opinion on the performance is the only one that counts in this instance. The backbone of new media is not the content but the code.
Understanding the ‘subtext’ of a play is to grapple with the tacit language of metaphor, understatement, pause and silence.
I am permanently on the lookout for women on the comedy circuit and I rarely find them so when I do it’s always a great treat.
In Wall, David Hare conjures a vision of the future; drawing on history that is being written as we speak, his journies make faraway lands feel less distant, less foreign than we’d have them be.
The very idea of distilling thousands of years of human evolution into a two hour performance is itself a critique of the writing and presentation of history.