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.
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.
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.
Knut Hamsun’s novel Hunger over a century ago would give way to a new style of writing, writing based more so on the psychological well being of a protagonist. Originally based in Oslo, a nameless protagonist finds himself gradually spiralling into a world of deprivation and hunger, his very generosity now causing him to scrounge for food, this in turn having a significant impact on his physical and mental health. What’s concerning is that this tale of homelessness and poverty draws a parallel to our very own modern society; according to Crisis UK, in 2018 an estimated ‘57,890 households were accepted as homeless in England. In Scotland, 34,100 applications were assessed as homeless and in Wales 9,210 households were threatened with homelessness.’ A sign of our times, Hunger resonates as much today as it did in the 19th century. An adaptation of Hamsun’s pivotal novel is currently showing at the Arcola Theatre, with actor Kwami Odoom taking on the lead role; The Young Man. Kwami tells us more about the show.
Divisions within society have started to rise to the surface post 2016; tensions revolving around multiculturalism, community, social cohesion and social mobility, issues we all find ourselves addressing introspectively as well as discussing out in the open. Gurpreet Kaur Bhatti’s A Kind of People delves into the lives of various people within modern British society, exploring societal inequalities that impact on the lives of many. As we approach the new decade, we find ourselves confronting many truths, conversations that are vital to improving lives and pushing society forward. Ahead of the show’s opening at The Royal Court from 5th December, Gurpreet tells us more about the show.
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.
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.
Hi all, something a little different to our usual content; if you have 5 minutes, could you please help to complete? All answers are greatly appreciated!
At the age of 21, Black Panther Activist Fred Hampton had become chairman of the Illinois chapter of the revolutionary movement and had founded the ‘Rainbow Coalition’, a multicultural political organisation aiming to create social change. His activism would draw the attention of many, this including the FBI. His ability to inspire, something that hadn’t gone unnoticed. In 1969, an armed raid would tragically end Hampton’s life, however his legacy lives on. Taking on Hampton’s powerful story, writer and director Jesse Briton alongside Paula B. Stanic present Messiah.
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.
Making its premiere in the late 19th Century, Gilbert and Sullivan’s The Mikado had witnessed the 2nd longest run in the Savoy Theatre’s history up until that time period. At least 150 companies within Europe and America had produced the opera, showing a demand for the opera within the west. Based in Titipu, Japan, the idea was to satirise British Politics by ‘othering’; placing the narrative in a distant land – a concept we now recognise as highly offensive due to the creators’ lack of knowledge of Japanese culture. Cue the English National Opera’s take on the well known opera, a focus more so on the satirisation of politics and the upper classes.