[Review:] DRACULA, The London Library, London.

Creation Theatre's Dracula, adapted by Kate Kerrow from Bram Stoker's original novel by the same name, and directed by Helen Tennison, recontextualises Stoker's classic story in a setting of pertinent historical poignancy. The London Library being the location Bram Stoker researched his famous novel, this performance perpetuates and immortalises the familiar tale. An obvious characteristic... Continue Reading →

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[Review:] THE ORCHESTRA, Omnibus Theatre, London.

The Orchestra, directed by Kristine Landon-Smitho and currently performing at the Omnibus Theatre, is TeatroLatino’s adaptation of L’Orchestre by Jean Anouilh, translated by Jeremy Sans. Being a farce, there are many unrealistic elements to Anouilh’s text:  the instrumentalists’ ability to hear each other speaking over their music, and the extended interludes between their performances; a... Continue Reading →

[Review:] ANTONY & CLEOPATRA, National Theatre, London.

This review will consider Simon Godwin's adaptation of William Shakespeare's Antony and Cleopatra recently staged at the National Theatre. Acting style was at times extremely sluggish and true to that all-too-common modern misrepresentation of Shakespearean performance – the haughty, stylised and unrealistic delivery. And at other times, it was simply peculiar: Gloria Obianyo’s (playing Charmian) sassy... Continue Reading →

[Review:] Baby Blues, Bread and Roses Theatre, London.

Baby Blues, written and directed by Michael Greenwood, is a didactic-expressive performance investigating Post-Natal Depression. This performance teetered between stylised physical movement and monologues. I will start with this former. Certain movements — such as popping of the chest, and lifting and spinning — became a repeated repertoire, dampening the overall efficacy of the dances.... Continue Reading →

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