Is a work of art only as interesting as the sex-life of its creator?
Participatory theatre is hard. Especially when the audience don’t want to play ball. But I remain to be convinced that relentless pestering, emotional blackmail and the odd physical shove onto the dancefloor is the answer.
We're clearly part of a recent interest and enthusiasm for installations, of being put in immersive environments.
Witchcraft is definitely not for the linguistically faint-hearted, nor for those who can't handle a few clunking plot-devices.
365 from the National Theatre of Scotland follows a series of teenagers emerging from care, and taking their first steps towards independence in ‘practice flats’. David Harrower’s drama explores the instabilities of identity that assail these young people, abruptly required … Continued
The company are obviously talented and brimming with energy, but this patchy adaptation lacks both pathos and pace
The play takes place in the hallway of an opulent apartment. Doors lead off from either side, to a bathroom, bedrooms, kitchen and the front door at the far end. The hallway is a key structural element in this play, … Continued
Watching the play was in many ways the experience of seeing ’seeds’ of potential being sewn in the ‘right’ places but all too often left un-nurtured.
Story and structure are well-conceived, but without Rebecca Stevenson’s ability to change from schoolgirl Gracie to a prematurely grown-up woman in a heartbeat...For Once I Was would remain just that – an interesting story well told.
Benedetti asks us to rethink Sarah Kane’s writing one more time, so that maybe now, in light of our times, we can understand a different side of her.