I wrote a piece for The New York Times on the RSC’s costume sale. Link here for the article.
What if you woke up one day in the body of Kanye West? That’s the attention-grabbing idea behind Sam Steiner’s play, Kanye the First. Continue reading “Sam Steiner on Kanye the First: Why I cast a white woman as the rapper”
When Chipo Chung last saw Christopher Marlowe’s Dido, Queen of Carthage, she didn’t understand it. Now, she’s about to play the queen herself at the Royal Shakespeare Company. Perhaps surprisingly, it’s the first time the company has staged the tragedy. Continue reading “Chipo Chung: I had to go round the houses to get into theatre”
There’s a scene in Doglife, one of this year’s most talked-about plays at the Edinburgh Fringe, where the wife of a Glaswegian gangland enforcer, confronting him about his job, suddenly writhes onstage as if experiencing the violence he inflicts on others. Continue reading “Meet Thomas McCrudden, the violent criminal squaring up to his past on stage”
It’s midnight, and I’m lying on a massage table on stage in front of a room full of people. I’m gripping a cucumber between my thighs, which a tall Australian man is demonstrating his hand-job technique on. Ladies and gentlemen, welcome to the Edinburgh Fringe. Continue reading “I went to the maddest interactive shows on the Fringe so you don’t have to”
What’s the noise you keep hearing while watching Irvine Welsh’s play? Laughter? Not so much. It’s more likely the terrible creaking of a woefully old-fashioned script, co-written with Dean Cavanagh. Continue reading “Review: Performers, Assembly Rooms”
They say you have to suffer for your art. But whoever “they” are presumably aren’t talking about binge-drinking cider in public on a daily basis for a month. Mind you, that’s not stopping actor David William Bryan from doing exactly that at this year’s Edinburgh Fringe festival, all in the name of theatre. Whether theatre will thank him is another matter altogether.
Selina Thompson is taking a sledgehammer and smashing up a great hunk of pinkish salt; she’s also smashing at the concepts of “imperialism, capitalism, racism”. Continue reading “Review: salt, Summerhall”
Artist Martin Creed’s show defies easy categorisation. He shares some thoughts, from the problem with trousers to the inadequacies of language to explanations of his sculptures. He plays some songs: some illustrate his musings, some are aural non-sequiturs. Continue reading “Review: Martin Creed’s Words and Music, EIF”
To have one iconic part you’re associated with forever can be a joy, or a drag. Stockard Channing has two. Continue reading “Stockard Channing: ‘I like to think there could be a return to civilised discourse, intelligent diplomacy…’”