Truly Mesmerising and full of content, Gravity Fatigue catapults you into a captivating world of dance. Futuristic and innovative choreographer Damien Jalet has produced something quite stunning. Along with Artistic director and designer Hussein Chalayan it is a match made in heaven. The set is spectacular, with striking lighting effects and an intense musical arrangement that creates a moody atmosphere, that grabs the audience’s attention from the get go.
Set during the London protests of 2010, the award winning Crushed depicts the lives of three university students over the course of several years. A story of lost innocence, we watch the friends fervently unite over a political cause, before entering the working world where they succumb to political apathy and the numbing influence of the daily grind.
The new theatre company from Cambridge – Ars in Fieri – presents: Looking for Pasolini at the Courtyard Theatre. This new play, written by Atticus Osborn and Ludovico Nolfi, who also directs it, aims to divulge and celebrate the work of the Italian writer, poet and film director Pasolini.
No Lander is a striking production presented by Riccardo Buscarini working in collaboration with The Place Theatre. It is an exploratory piece discovering a sense of longing and belonging, through the medium of dance. Both a tribute to the choreographer’s classical studies and a melancholic subtle meditation on the themes of Homer’s Odyssey, No Lander is a combination of the body meeting a broad theme. No Lander forms a discourse, evaluating the anthropological state and evolvement of human instincts.
Quirky, witty and totally bizarre, Rachel Chavkin’s Roosevelvis is one of many contemporary productions hitting the Royal Court‘s books this year. An interesting team up in the form of Teddy Roosevelt and Elvis Presley, who both manage to acquire a great many laughs from the live audience. Exploring the realms of music, history and most importantly their own personal achievements. With this you begin to get a real sense of what these two well-known American figures may have been like. With a comedic twist of course.
We walk down the steps, into the space and are instantly welcomed by what can only be described as a caged stage, roped fencing and orange fur cover the pathway, buckets strung up from the ceiling and present within the enclosure are three characters, everyone, masked with a bucket. The music plays and we begin to question the sense of absurdity, we take our seats within the ‘In the round’ style seating, analysing the simple movements and interaction of these characters. The lights go down and the show begins.
Christmas has come early in the form of The Russian State Ballet and Opera House‘s impeccable adaptation of The Nutcracker. Taking the classic tale of a girl’s journey through the Land of Sweets with her beloved nutcracker brought to life, The Russian State Ballet and Opera House breathe life and character into their performances unlike many other touring productions.
Justice. Mercy. Religion. Power. Sex. The former two words are at the core of this season at the Globe, and perhaps no other works of the bard better encapsulate those themes than Measure for Measure.
Paul Anthony Morris’s Sarai tells the story of one woman. A woman who addresses the hardships and cruelties of a nation on the brink of war and corruption.
Friends are your extended family. They’re there for you during your darkest, as well as your lightest moments. Score, explores the value of friendship, with the added weight of drug addiction. Written by Lucy Bell, the piece places the everyday lives of two teens centre stage.
