This 1982 cult musical has always been a potty favourite: hapless florist Seymour cultivates an alien plant with an appetite for human flesh – a Faustian pact that wins him fame, fortune and Audrey, the girl of his dreams. Continue reading “Review: Little Shop of Horrors, Regent’s Park Open Air Theatre”
“The works shall speak for themselves.” So wrote Artemisia Gentileschi in 1649, in a letter to a patron acknowledging her rare position in the art world at that time: a painter, and a woman. Although all too aware that she had a harder job being taken seriously, she had faith in her talent, her work.
In 2016, the arts producer Amber Massie-Blomfield began “plotting an adventure”: a freewheeling trip around Britain’s “most remarkable” theatres. Each would need to have an unusual story, or a distinctive setting.
When playwright Gary McNair was asked who should provide the music for his new play Square Go, there was only one answer: Frightened Rabbit. He’d been friends with the Scottish indie rock band for years.
Womad’s great strength is its eclecticism: there are bands from right across the globe, offering glimpses into lesser-known musical traditions from more than 50 countries, or slamming them together in unexpected combinations.
In 1968, The Beatles got in a yellow submarine and sailed away to the sea of green – on screen at least – in an animated caper designed to fulfil their three-picture contract for United Artists, without much effort on their part.
When the area is spoken of, it’s described as “the Switzerland of Tanzania”. Certainly, the terrain isn’t what you expect of the East African country, more usually associated with Serengeti safaris or the beaches of Zanzibar than alpine forests and verdant vistas.
I watched The Lehman Trilogy at the National Theatre with David Segal, business reporter for the New York Times.
Choreographer Botis Seva was born in south London in 1991 and raised in Dagenham. After training with hip-hop dance company Avant Garde, he set up his own company, Far from the Norm, whose work blends hip-hop with experimental theatre and dance.
Death comes to us all, and we’re lousy at preparing for it. And probably would be even if we lived for 483 years – like King Berenger, of Ionesco’s absurd comedic tragedy, who squirms in the face of his impending, certain demise.