★★★☆☆ I would go see another Action Hero production. They are some wonderful, brave ideas here, but either they need to be grounded and contextualised more, or indulged to their full-blown fantastical conclusions. The in-between hampers their impact.
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★★★★☆ The evening consisted of two pieces both performed by solo women with very little words but some music and plenty of physicality. The first was about a woman and a bed and the second a woman and a chair.
Read More★★★★☆ There was an époque, about the same time as the Beatles were flexing their muscles, when adult entertainment was often classy and très sophistiqué . . . .
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★★★☆☆ Sarah Hadland is remarkable. Her characterisation is consistent, and comfortable, and she breathes vitality, humour and a little edge into what others might have played as a stereotypical badgering wife. Her final monologue is something to behold, an impressive feat of breathing control, let alone acting ability.
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★★★☆☆ Imúlé Theatre describes this show as a story-telling experience . . . key passages are partially improvised to reproduce the reader’s experience of unrelenting uncertainty. The aim is to recreate the power and immediacy of Hemingway’s fable.
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★★★★ It leaves you yearning for more. Will Tharwa get to see her kids soon? Will Emma give birth while in the hostel? Where did Adnan go? I could watch a six-part Netflix series following these characters, though of course, that’s not the point. Easy resolutions are not what Zeldin is offering us here . . . Beautifully quiet, and quietly beautiful, Love should be on your list of shows to see in 2017.
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