The language in Kalila Wa Dimna is archaic in its formalism, deeply poetic with constant recourse to metaphor and similie and an acute awareness of rhyme and rhythm.
Complicité’s new endeavour, Shun-kin, is a tale of love, obsession, devotion, and selflessness – one that will stay with me for a long time.
Dominic Hill’s production is gutsy, inventive and stylish, finding a gripping, discomfiting immediacy in Ibsen’s perplexing tall-tale.
We're clearly part of a recent interest and enthusiasm for installations, of being put in immersive environments.
One of the most touching moments in the play comes when the two leaders of 11 and 12 meet and talk through the night about their conflicting beliefs.
Grafting a social conscience onto Barrie’s blithely heartless hero isn’t as easy as re-attaching lost shadows.