Once upon a time, in the land of book publishing, a set of retailers ruled with great power: the supermarket was king, shaping British novel-buying tastes and making authors’ careers.
The catchy, folk-tinged numbers from “Treason the Musical” have been streamed online over a million times, in 96 countries. But until this fall, there hadn’t even been a full-scale production of the show.
“Vain trifles as they seem, clothes have, they say, more important offices than merely to keep us warm. They change our view of the world and the world’s view of us.” So wrote Virginia Woolf in her 1928 novel Orlando.
Watching Frantic Assembly’s Metamorphosis feels like being trapped in an expressionist nightmare – which is, of course, appropriate for an adaptation of Kafka’s 1915 novella.
Imagine a fairy. Is the picture that appears a tiny, pretty, magical figure – a childish wisp with insect-like wings and a dress made of petals? If so, it’s likely you’ve been influenced by Cicely Mary Barker, the British illustrator who created the Flower Fairies.
A confession: the thought of an 84-year-old writing a play about sex robots did not necessarily fill me with optimism. But in his 89th play, Alan Ayckbourn proves you don’t need to be a digital native to write about AI.
Eilish pulls off a rare trick: she captivatingly fills the stage, bringing megastar command of both her sound and the crowd, while somehow still looking like a goofy little misfit.
Sheffield Theatres are making big promises that their version will be a radically “reimagined” Miss Saigon.
But the decision to stage it has still caused dismay.
The Stirrings, as a title, is an indicator of how braided together the personal and political will be throughout Taylor’s book – as well as suggesting the murky atmosphere she evokes.
Megan Nolan’s lauded debut novel was called Acts of Desperation. Her follow-up could share the same title: in Ordinary Human Failings, the Irish-born, London-based author and journalist proves desperation is her special subject.