
Articles
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1 week ago |
britishtheatreguide.info | Howard Loxton
Werner Heisenberg was a German physicist (he is a major character in Michael Frayn’s play Copenhagen), but Simon Stephen’s two-hander isn’t biographical. The title is because it centres on uncertainty following the scientist’s concept of the uncertainty principle, which posits that to accurately measure some pairs of properties at the same time—both speed and location for instance—is impossible.
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1 week ago |
britishtheatreguide.info | Howard Loxton
Supersonic Man was inspired by real-life Peter Scott Morgan, a robotics expert diagnosed with MSD (motor neurone disease) who sought to extend his active life with robotics. He was the subject of a Channel 4 documentary, but Supersonic Man is a fictional story. It is set in Brighton, and designer David Shields gives it a colourful seaside postcard-like backdrop, and, though the subject is serious, its energy is upbeat.
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1 week ago |
britishtheatreguide.info | Howard Loxton
Jean Chan’s set for historian Amy Ng’s compact 90-minute play presents three moveable boat trucks carrying rows of almost identical doors, but it isn’t going to be a door-slamming farce. The dark shadows and the mist that shrouds their grim, green ranks rightly seem ominous. This is the story of Lan Ping (later known as Jiang Qing) and Li Lin (later called Weishi). If those names mean nothing to you, how about Madame Mao?
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2 weeks ago |
britishtheatreguide.info | Howard Loxton
On 1 July 2010, 37-year-old former panel-beater, bouncer and tree surgeon Raoul Moat was released from prison after serving an 18-week sentence for assaulting a child. Two days later, with a sawn-off shotgun, he shot and seriously wounded his ex-partner and killed her new boyfriend and went on to shoot and blind a policeman and, believing a police conspiracy had been directed against him, threatened to kill any police who tried to stop him.
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2 weeks ago |
britishtheatreguide.info | Howard Loxton
It is not easy to describe what Container is. It certainly isn’t a conventional play, but it is a performance, and its producers describe it as “multi-vocal” using “overlapping choral narratives, live music and polyphonic sound to explore alternative treatments of text, voice and storytelling.” If that sounds portentous, I assure you Container isn’t; it has warmth and a light touch.
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