Helen Hawkins
Journalist at The Arts Desk
Developmental Editor, Copyeditor and Proofreader at Freelance
Contemporary romance writer, editor, mum. RNA member. https://t.co/9xfw4Vvy2X Rep'd by @saskialeach_/@KNLitAgency https://t.co/bMe03J2TOt
Articles
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3 weeks ago |
theartsdesk.com | Helen Hawkins
In 2012, the award-winning American writer Sarah Ruhl met a Yale playwriting student who became a special part of her life. Out of their friendship she created Letters from Max, a 2018 book of their correspondence, then a play performed in New York in 2023. On the page, it’s a piece with a level of diction befitting two poets who like to recite their latest work to each other, sometimes more like a poetry reading than a play.
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1 month ago |
theartsdesk.com | Helen Hawkins
In the guided tour of Britain’s cathedral cities that is the primetime TV detective series, the spotlight has now landed on Canterbury. Code of Silence frequently inserts a dramatic aerial shot of the city, its streets radiating out from the towering ecclesiastical landmark at its centre, to remind us where we are. It’s an eerily empty version of Canterbury, its streets untroubled by tourists and traffic.
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1 month ago |
theartsdesk.com | Helen Hawkins
The plays of David Ireland have a tendency to build to an explosion, after long stretches of caustic dialogue and very funny banter. The Fifth Step, though, is a gentler beast whose humour ends with a simple visual gag. Maybe because this is more personally sensitive territory? Ireland sets the piece in an AA meeting place, somewhere he got to know well in his early twenties in Glasgow. As props, there are just a few folding chairs and a refreshments table with paper cups.
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1 month ago |
theartsdesk.com | Helen Hawkins
There is so much that is right about Jonathan Kent’s new production of House of Games – the casting, the staging, the direction. But the flaw it can’t overcome is that the 1987 David Mamet screenplay on which Richard Bean based this stage version in 2010 has been transformed from a vicious psychologically tough caper-movie into an almost jaunty puzzle-play, its sharp teeth removed.
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1 month ago |
theartsdesk.com | Helen Hawkins
When Mark Rosenblatt was preparing his debut play, the miseries of the assault on Gaza were still over the horizon. Now they are here, another terrible moment in human history that resonates all through Giant.Since the play opened at the Royal Court last year, that ugly hum has grown even louder. Now transferred to the West End, it could have been written to give dramatic form to this most incendiary of talking points.
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