Theatre of the Absurd was a term coined by theatre critic Martin Esslin in 1960 to describe a movement of largely European playwrights – Beckett, Ionesco, Genet and Pinter to name a few. They tackled, in their mainly non-linear, seemingly illogical plays, the tragi-comic delusions of characters adrift in an arbitrary universe devoid of, and resistant to, any kind of meaning or purpose.
Due to its huge success in both the UK and abroad, it’s no wonder that Conor McPherson’s triumphant tale of 1930’s Minnesota has returned to the West End. When it premiered back in 2018 the show received lots of critical acclaim, quickly becoming one of the favourite new musicals to see. This is the second time I have seen the show, but with a brand new cast, it feels totally fresh and as exciting as before.
Fancy frills and festive frivolities welcome energised audience members into the kooky world of one of York’s most famous panto houses!
Boris Johnson winning a winter election couldn’t have come at a better time for Mike Bartlett and his London debut of Snowflake at the Kiln Theatre. Aptly titled one might say to fit Bartlett’s flare for goading the political discourse du jour. Though generational tension bubbles away, the title doesn’t live up to the boomer vs millennial hostility one might have expected, if that’s what you’re after just log on to Twitter.
Courtesy of Manuel Harlan.
We’re all familiar with the biblical tale of Adam and Eve; the first human beings to inhabit the Earth and reside in the Garden of Eden. A creation myth that has inspired many, its moral compass lay in the fact that consequences are embedded within the actions we decide to carry out daily and in turn, having to live by the choices we’ve made.
The elephant in the room is the elephant in the room, I just wish the well thought out comments of prejudice and misconceptions hadn’t played second fiddle to story-telling and romance.
Courtesy of The Other Richard.
Three sisters lie broken and devastated, a body limp stage left, and the cry of an African song rings out as the final call of a martyr, Inua Ellams’ complete reconstruction of the Chekhov classic leaves a lot of very uncomfortable questions hanging over the stage.
Courtesy of The Other Richard.
Once every few years, a show will arrive on the London stage which genuinely warrants the description “must see”, a show which asks fundamental questions about the act of theatre itself; what it can be, and what it should be.
Courtesy of Marc Brenner.
Aside from the witty wordplay and somewhat engaging performance, Polaris does not quite hit home with its broad sweeping statements in its attempt to tackle far too many issues.
Despite compelling performances, Hunger leaves a certain something missing. While there are moments of brilliance and a clear attention to detail, I want this show to leave a few more questions unanswered.
Courtesy of Alex Brenner
