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It’s a bigly Trump-fest over at the Donmar, with adaptor Bruce Norris determined to make Brecht great again – or at least pointedly contemporary. Despite a legal disclaimer in the knowing prologue, the current tangerine regime looms large, replacing (or … Continue reading
From new takes on Brecht and Büchner to Jez Butterworth’s latest and a classic musical. Read my full BroadwayWorld article here
War bad, theatre good. That’s about the level of insight available from this amiable show, transferring after a successful run in Bath. It’s one of the weaker entries in the ever-popular backstage genre, sharing Vaudevillian DNA with Gypsy and a … Continue reading
The pivotal early 1930s period in which Herr Hitler overcame strong if fractured left-wing opposition should make for meaty drama, but the sluggish polemic currently occupying Southwark Playhouse will leave carnivorous viewers unsatiated. American playwright Tony Kusher is rightly celebrated … Continue reading
It seems almost unnecessary to criticise Tony Kushner’s insufferable polemic when he does so regularly within the text of A Bright Room Called Day. Characters rebuke one another for their “bad romantic posturing”, “elegant despair” and “carefully constructed but immobile” … Continue reading
“It is the most effective indictment of Nazism to appear in fiction,” proclaimed The New York Times Book Review of American author Kathrine Kressmann Taylor’s 1938 epistolary novella Address Unknown. Seventy-five years later, her work still packs a powerful punch in the form of … Continue reading