Cindy Marcolina - Page 45

It’s a turbulent time in 1984 England. The nation is trapped between the Conservative jaws of Thatcher’s Tories and Charles Hawthorn is fighting the growing problem of morally corrupt horror films.

Dante Alighieri built his idea of hell as a colossal conical structure that opens up underneath Jerusalem and reaches the centre of the Earth. He makes his descent steadily, accompanied by Virgil. The further away from Jerusalem, the further away from God and goodness. A stone’s throw from Jerusalem, Iraq and what it represents in the American cultural portfolio is ravaged by conflict. A young soldier puts up a fight before he is honourably discharged. A cold-blooded killer who’s completely unbothered by having to make his way through piles of corpses, he is everything the States want in their ranks.

The tale as old as time returns to the West End. The 1991 animated film is doubtlessly one of the most beloved out of the Disney catalogue and saw a number of live-action films of varied quality developed over the years. Now, its musical adaptation takes over the Palladium in a grand spectacle directed and choreographed by Matt West. It’s big, it’s theatrical, it’s magical.

A week after Windrush Day saw Prince William and his wife visiting the National Windrush Monument at Waterloo Station, two children of the Windrush generation are at the heart of Roy Williams's new piece. Debuting at Hampstead Theatre, directed by Paulette Randall, it introduces sisters Dawn (Cherrelle Skeete) and Marcia (Suzette Llewellyn), who grew up as activists in 80s London.

Treachery, a magical storm, a catastrophic shipwreck. Far-away islands, spirits, and a love story. All permeated by music. Shakespeare’s swansong might be concerned with its own nature of grand spectacle and the limited resources available to produce it realistically, but Prospero is a sorcerer, illusion is his craft, and everything is possible in a theatre.

Chris Bush is having a marvellous year. The writer has been populating theatres across England steadily for months, and now rings in a double-press night on the same day.

Many great performers tackle Lear every year. From Laurence Olivier and Michael Gambon to Ian McKellen and Simon Russell Beale, it’s become somewhat of a tradition for dramatic actors to take on one of Shakespeare’s biggest challenges once their hair starts to grey. Less often, a female actor comes onto the scene to huge acclaim. Glenda Jackson did so last in a starred performance on Broadway in 2019, but Kathryn Hunter is taking the wretched crown back after her first stint as the destitute monarch 25 years ago.

Three women gather in a waiting room to receive the results of their genetic testing. Through palpable tension, they (over)share and confess their deepest secrets, regrets, and hopes. From desperately wanting children, having four of them, or never having been the motherly type, their lives are ruled by their gender.

What did our critic think of AN EVENING WITH JOE STILGOWith his latest album’s dropping on the musical theatre scene a few months ago, Joe Stilgoe brought to the attention of all his listeners the figure of Frank Matcham, the turn-of-the-century English architect who specialised in theatres and music halls.E at Hippodrome Casino?

What did our critic think of THE GUNPOWDER PLO“Remember, remember the fifth of November” is a turn of phrase etched in the brains of millions of children. The plan was to assassinate James I and overthrow the government in one swift move during the Opening of Parliament in 1605. Led by Robert Catesby, the movement wanted to restore the Catholic Church in England and place a puppet monarch on the throne.T at Tower Hill Vaults?

While Romeo and Juliet have charmed and stirred audiences for over five centuries, another unofficial couple from Shakespeare’s tragedy has instilled doubt and curiosity. Mercutio and Tybalt, sworn foes, are tied together by an invisible string of admiration and attraction.

Socrates: enigmatic Greek philosopher and generator of many a good quote. Accused of sacrilege and corrupting the young minds of Athens, he was sentenced to death by forced poisoning. He might be revered as the founding father of Western philosophy, but he was a dangerous presence back in Attic times.

It’s been a while since Mark Ravenhill’s had a show on in London. After The Cane premiered to stellar reviews at the Royal Court in 2018 and the musical adaptation of The Boy in the Dress (for which Ravenhill wrote the book) opened in Stratford-upon-Avon the year after, The Haunting of Susan A is somewhat of a comeback for the playwright.

Whether it’s all a big scheme to get bums on seats or these actors are all of a sudden genuinely interested in being in plays, it’s working. The West End is swarming with film and tv stars at the minute and patrons are flocking to see them. Read our BWW critic's review.

See what our critic thought of seeing the popular film accompanied by a big orchestra.

The Greeks seem to be trending at the moment. Last year TikTok went mad for Madeline Miller’s book Song of Achilles, Ivo van Hove brought his mash-up of myths to the Barbican at the start of the month, and the Almeida’s latest project is being compared to a Greek masterpiece. London seems to be in a blood-thirsty mood these days and now the Kiln joins in.

When Legally Blonde came out in 2001, its main character Elle Woods became an instant icon. Witty comebacks in hot pink stilettos, she tore down stereotypes and validated blondes across the world. She probably also inspired generations to pursue a law degree and not be intimidated to hide the multi-faceted human beings they can be. Read our critic's review.

Life has a funny way of happening. We have all these preconceptions around what it should be and what’s successfully worth living that we forget that we are experiencing one. Jane (Grace Collett) is struggling with that.

According to Google, an artist is “a person who creates paintings or drawings as a profession (or hobby)”. It’s hard to be one on a creative level, but it’s even harder when your livelihood strictly depends on your ability to create. Inspiration needs to take a backseat and discipline take over.

Same household, five decades. Starting from 1965, playwright Beth Steel accompanies the Websters as they live and die in a Britain that’s not on their side. From Harold Wilson’s Labour all the way across Thatcher’s Tories to Brexit, the Websters see their Nottinghamshire home turn to ruins.