The Father is a play of outstanding quality the like of which you will rarely see. From this review it sounds heavy going, but it certainly is not. One is entertained, enthralled and involved. The ninety minutes, without interval, flash by in an instant leaving a certain emptiness but most of all, admiration.
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Richard O’Brien’s cult classic makes a triumphant return to Malvern judging by the packed house on opening night. The show recently celebrated its 40th Anniversary with a special West End performance, screened live in cinemas across the country, and is now on a national tour, to the titillation of cross dressing fans everywhere. . . If you have been fortunate enough to get tickets to see this show, you are in for an outrageous night of delightful debauchery.
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Into the Breach is a tour-de-force by Mark Carey for its concept, writing and his performance. He skips effortlessly between the half-dozen, eccentric characters without pausing for breath and was a joy to watch. However, I think the play’s greatest achievement was to demonstrate that, even after 400 years, Shakespeare is accessible and relevant to us all, at all times and in all circumstances.
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. . . a man emerges wearing a motorcycle crash-helmet. He and the woman speak to each other in an animated, urgent fashion. I have absolutely no idea what they are saying, for they are talking in Portuguese. I hear some laughter from fellow members of the audience and I begin to suspect that I am the only person among the mere twenty or so in the auditorium who is not fluent in that language.
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Ballet is often, mistakenly, thought of as elitist, difficult and serious but, as last night showed, it can be a lot of fun too. The programme consisted of four short-ish pieces, two of which could be described as playful . . . Birmingham Royal Ballet is always a joy to watch. I look forward to seeing them with a sort of childish glee of which a man of my age should be ashamed. But I’m not, I love ‘em.
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To all you lovers of dance and spectacle I suggest you book seats at tonight’s performance of the JSLN Dance Company . . . Variations of Pointe presents an intriguing and highly entertaining triple bill that reflects Artistic director Sören Magnus Niewelt’s desire for classical and populist narratives to be explored through classical ballet, but also through other dance forms.
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