Gecko’s Artistic Director, Amit Lahav manages to spotlight a world perhaps perceived as being alien to us and makes it significant. I’m made to care about all of the individuals that occupy the stage, and that is no mean feat.
The pioneer of epic theatre, a form that forces the audience to reflect on their own actions rather than to emote with the action taking place onstage, Brecht has inspired generations of theatre makers with his forward thinking mode of theatre making. There are plenty of dramaturgical texts that have been uttered as being must reads, and Caucasian Chalk Circle falls into that category. As I make my way to The Jack Studio, I wonder why I have never read, or even seen a version of the play before…
“I See You and I love you…” A production of identity evaluation, generational interaction and cultural understanding. I See You, introduces and engulfs you into the South African heritage. Based on a real encounter, the play addresses the questions of a new generation, Post-Apartheid, South Africans encountering their country’s traumatised past, dealing with humanity, hurt and darkness. I See You, a show that questions culture and the nuance of the world, informed by experience, collective thought and profound exploration, is a show not to be missed.
Over 8 decades ago, Walter Greenwood produced a text that would go on to change his fortune, and force the then government to rethink some of their policies on job prospects and conditions. Hailing from a working class background, Greenwood, once leaving school found himself in a climate of uncertainty as he wrestled between acquiring low paid jobs and unemployment. During the latter, Grenwood’s Love on the Dole was born; a realistic commentary on the political climate from the perspective of working class citizens.
There’s reason why Edinburgh is magical in August, why Adelaide is so packed in March and why underneath Waterloo station, for the last couple of years in February people have amassed to drink Greenwich beer underground and debate. Theatre Festivals like VAULT let companies share theatre with audiences that love the art form – it’s not about going to the National because you’ve got a season ticket, or going to the Old Vic because Fiennes/Spall/Spacey is up there doing something ‘unmissable’ – it’s about throwing around ideas with yourself, small companies making small theatre with big messages. It’s about the way small scale theatre affects you, the way it makes you wrestle with ideas on the tube home.
Flamenco: A style of dancing characteristic of the Andalusian Gypsies that is strongly rhythmic and involves vigorous actions such as clapping the hands and stamping the feet. Now, I’m sure this definition conjures up an image in your mind of a dancer perhaps more traditional in their approach to the recognisable dance style of Flamenco, however as expertly displayed by the powerhouse Olga Pericet, this fiery foundation is only the beginning of what the genre can bring.
A night of provocative, informative and erotic performance art, that tempts you in the complex world of gender, sexuality and performance. The nights consists of two performances, complimenting each other in both terms of theme, content and development of ideas. Both pieces challenge the concepts of masculinity, the first through classical sculptures of male ideals and the second, through the presentation of female performers transforming themselves into men. In a thought provoking double bill, the essence of exhibition performance is undeniable, additive and contagious to observe and comment upon.
Opening with a single guitar chord, this passionate amalgamation of live music and flamenco dance, is a dialogue of culture, language and expression. A commentary of Spanish manifestations provide the soundtrack to this sensual, semi-improvised production. Buen Arate presents Farruquito & Farruca, in collaboration with Flamenco Festival London. In this feast of live music, and dance, Buen Arate presents a twist on the traditional flamenco identity, incorporating contemporary choreography, demonstrating longevity, only derived from a dance practice that is culturally centred.
Agatha Christie’s The Mousetrap has been on stage for over 60 years now, making the play a cornerstone of British theatre. The lavish set upon the curtain rising fits in brilliantly with the aesthetic of the Grand Opera House, bringing a murder mystery classic which stands the test of time and looks good doing so. However, it’s not just appearance which makes the performance tick and audiences will be happy to feel the same thrill as audiences 60 years ago in a play which, whilst a little worn around the edges, definitely holds up in terms of tension and suspense.
We all have our favourite theatre productions, whether they’re a fun sing along jukebox musical or gripping stage play. However, whilst some shows come and go, there are a special few that continue to live on in our hearts and in Theatre Land that we simply can’t get enough of. Read on to find out all you need to know about the longest-running shows still playing in London’s West End today.
