Drinking in the messages Premium11 October 2017 | by Anna Moore
Stations of Water, St Paul’s Cathedral, London
Sacred made simple Premium11 October 2017 | by Alexandra Coghlan
An opera in church vestments
Khovanshchina is packed with dramatic choruses, hymns, supplications and laments, hypnotic scenes of mystic visions, exotic dances, serene, folky paintings of nature to frame the often hideous human action.
This was a coronation of sorts – but with anticipation so high, let-down was perhaps inevitable.
The show celebrates 20 years of the Bethlem Gallery, set up in 1997 to showcase the work of current and former patients and now housed in an imposing art deco building.
Work on this painstaking account of Britain’s efforts to “build decent social housing” over the past century and a half was well advanced before the Grenfell tragedy gave most of its underlying themes a dreadful contemporary focus.
The revival of Loot that marks five decades since the writer’s death is the first performance with all the blue-pencil marks erased. Even in its bowdlerised form, the drama was calculated to have many theatregoers’ eyebrows touching the auditorium roof.
Upstart Crow is another of Ben Elton’s funny forays into the foreign country of the past, where the great figures and events of history are thoroughly cut down to size.
Did he choose, or was he chosen? How far was Judas really responsible for his betrayal of Christ?
Theatre productions roughly divide between the kind that make the writer famous – new with original style or content – and those that encourage celebration of the director: surprising interpretations of well-known works.
Setting the record straight Premium31 August 2017 | by Anthony Quinn
In the wake of events at Charlottesville, Virginia, Kathryn Bigelow’s historical drama Detroit could hardly be more topical.
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