Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Sex, lies and samovars
SIMON PARSONS applauds an ambitious and relevant dramatisation of the the great Russian classic
DYNAMIC: The full company in Anna Karenina
[Robbie McFadzean]
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
Anna Karenina
Britol Old Vic
TOLSTOY’S epic novel of a doomed, scandalous affair in imperial Russia is considered one of the great works of literature. At almost a thousand pages in length with multiple subplots, it is told through both an objective omniscient narrator and subjective interior monologues detailing troubled relationships across rural and cosmopolitan settings.
It is a mammoth challenge for any stage adaptation.
Lesley Hart’s version makes no bones about this two-hour, eight-person stage production being a Scottish-infused love story for a contemporary audience. From the opening salvo of invective from Dolly, not Princess Darya Alexandrovna Oblonsky as she is formally titled in the novel, we know we are in for a stripped down, dynamic modern reworking of the story.
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SIMON PARSONS is taken by a thought provoking and intelligent play performed with great sensitivity
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
SIMON PARSONS applauds a tense and thoughtful production that regularly challenges our political engagement and prejudices
SIMON PARSONS applauds a moving version of Ishiguro’s vision of a world in which science and ethics have diverged