Monthly Archives: November 2010

A Doll’s House at #66 The Space

An innovative and fresh take on A Doll’s House, this performance by Space Productions involves a subtle re-thinking of Ibsen’s classic play. Incorporating dance elements and puppetry, the ideas behind this production are both experimental and surprisingly cohesive. Irina Borisova … Continue reading

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A Dog’s Heart at the Coliseum

Written for Animations Online Raskatov’s opera is an adaptation of Mikhail Bulgakov’s Heart of a Dog, a novel that was written in 1925 but banned in Soviet Russia until 1987. The story is a biting, satirical Frankenstein-like tale of what … Continue reading

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Wheels, work ethics, and striving for simplicity: The Mill at #68 artsdepot

A circus show about people’s relationship to work, aerial theatre company Ockham’s Razor are coming to the end of their tour of The Mill. I spoke to Charlotte Mooney and Alex Harvey, two of the company’s three artistic directors, about … Continue reading

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Or Am I Alone? at #65 Toynbee Studios

Cardboard Citizens and the potential of forum theatre Cardboard Citizens is an established theatre group, comprised of members who have all experienced homelessness but who are now working as professional actors. With social issues at the heart of the work … Continue reading

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The Train Driver at #64 Hampstead Theatre

The Train Driver Roelf is an unlucky train driver. He’s stricken with guilt after having run over a woman who flung herself and her child onto the tracks in front of his oncoming train. If you’ve not seen the play, … Continue reading

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The Money Conversation at #63 Chelsea Theatre

An exciting but somewhat hidden away live arts venue on the Kings Road, Chelsea Theatre stages an annual festival called Sacred during October and November. Amongst this year’s US Radical acts is Sara Juli’s The Money Conversation. A show that … Continue reading

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The Glass Menagerie at #62 The Young Vic

The dangers of an old favourite  Joe Hill-Gibbins’ new production of The Glass Menagerie is an escapist delight: Jeremy Herbert’s set transports us straight back to 1930s America and Laura Hopkins’ costumes are intelligently matched to their characters. With delectable … Continue reading

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