There was a sense of clarity in London today, heightened by a cold wind and a crisp silence. No streams of traffic, no hustle and bustle, nothing but a chance to see this city in its naked splendour. I stopped … Continued
It’s a production without concept, in which the actors feverishly juggling words, words, words keep revealing brilliant new facets of a familiar text, then tossing them away with spendthrift unconcern.
Understanding the ‘subtext’ of a play is to grapple with the tacit language of metaphor, understatement, pause and silence.
The Ecstatic Bible is a 436 page epic in 30 "chapters". The six-hour epic premiered at the 2000 Adelaide Festival
Perhaps under other circumstances having 'solved' All's Well would be enough of an achievement, but this is the National we're talking about; it's perfectly justifiable to demand more.
Mad Forest by Caryl Churchill is an epic and daring play; and in Caroline Steinbeis' production the cast rises to the occasion with unbreakable energy and pinpoint focus.
The similarities between Brecht's model of Epic theatre and Howard Barker's theatre of catastophe are striking.
What else could be more representative of this transatlantic project than Sam Mendes relocating Sicilia and Bohemia to England and the US in the 18th century?
Found in the Ground isn’t calculated to accommodate the Barker novice, or anyone with a low-ish boredom threshold.
Can a Shakespearean play work without Shakespeare’s language? Pawel Szkotak proves so in his nightmarishly perverse adaptation of Macbeth.