“Murder is hilarious,” quips Zawe Ashton’s scheming maid, and in Jamie Lloyd’s high-octane, queasily comic revival of Jean Genet’s radical 1947 play, it really is. It’s also lurid, strange, bleak and powerfully transcendent, as befits a piece that locates hunger for creation and liberation in the imitation and destruction of another. Lloyd employs Benedict Andrews and Andrew Upton’s salty new translation – the latter’s wife, Cate Blanchett, led a 2013 Sydney Theatre Company production – to emphasise the unflinching modernity of Genet’s piece, which uses and unmasks theatrical artifice to illuminate existentialist truths.
- @MattHemley I hope you made a citizen's arrest 8 hours ago
- RT @theartsdesk: ★★★★★ 'The renaissance of an American classic by one of Britain’s most visionary directors: I’ll drink to that!': @Company… 8 hours ago
- RT @dyfl: If you missed it: today it was confirmed that Facebook massively & knowingly inflated its video-view statistics, which had the DI… 17 hours ago