Author: @BookingAround

THE COMPLETE DEATHS at the Oxford Playhouse

Theatre company Spymonkey takes each of the 75 onstage deaths from Shakespeare’s plays and acts them out over a couple of hours. The production asks questions about the nature of theatre, and why we attend plays – to be entertained, or to be intellectually stimulated. . . The annoying thing was that I really wanted to like it. Shakespeare doesn’t want us to be reverential about his work; he wants us to poke fun and be snide and irreverent and play with new ideas and be a bit silly.

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CLYBOURNE PARK at Oxford Playhouse

Mercury Theatre Colchester has arrived at the Oxford Playhouse this week with their polished, confident, and cringingly funny production of Bruce Norris’s Clybourne Park. Set in the same suburban American house, with the first act set in the 1950s and the second in the modern day, Norris explores some fairly uncomfortable themes of societal prejudice and resentment with humour and clever, realistic dialogue . . . This is an engaging and hard-hitting play which will have you shifting uncomfortably in your seat.

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NIJINSKY’S LAST JUMP at the North Wall, Oxford

. . . despite my ignorance when it comes to ballet, I expected that I’d still enjoy it . . . Writing this review has made me feel rather uncultured, particularly in the face of many other great reviews, but I suppose not everybody likes the same thing. After all, Nijinsky’s balletic interpretation of Stravinsky’s The Rite of Spring got booed off the stage, so it’s probably a good thing to divide one’s audience.

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ORPHANS at the Michael Pitch Studio, Oxford

The Experimental Theatre Club in Oxford is prone to choosing challenging plays, and their latest choice is no different . . . Helen and Danny are a young couple, quietly celebrating the news that they’re expecting their second child, when Helen’s brother Liam arrives in their home covered in blood. He tells the story of how he discovered a lad injured in the street, and the couple offer to help him, but as the play unravels they begin to realise that Liam’s account of the evening might not be entirely accurate . . .

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IDIOTS at the BT Studio, Oxford

The play draws intriguing parallels between Dostoyevsky’s life and that of Myshkin, the main character in his semi-autobiographical novel, The Idiot . . . To my mind, the most interesting parts of the play happened when the action wasn’t relying on gimmicks. The passages of dialogue or monologue were satisfyingly clever and often acerbic critiques of the audience, but I thought there were too many experimental elements to make this a truly enjoyable experience.

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