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The depth and nature of the obstacles Osamah must overcome to deal respectfully with unexpected loss is indeed amplified knowing we are watching the man himself retrace his own steps in dramatic form.
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Hooper is mistress of the deadpan straight-face, irony-laden punch line. Yet she also charms with her sunny smile and the occasional mime of particularly awkward moments.
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Massively thought provoking and enjoyable, The Children powerfully couples eco morality with a painful study of physical decline.
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As an empowered and dangerously alluring woman who doesn’t hide from power or fear, Carmen still resonates with audience today and Bell’s production is bold and beautiful.
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A promising premise, a densely written script with some rough patches in delivery.
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Not for those seeking a comedic revelation on the road to their own theatrical Damascus, and certainly not for the self-seriously devout, this is a flamboyantly funny mainstream comedy.
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I first heard Florence Foster Jenkins one morning on the radio. I was stunned. I couldn’t believe that anyone could sing so badly, have the nerve to be recorded and that a reputable radio station would play it. All was explained when the announcer reminded us that it was April Fool’s Day.
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Barber shops, like ladies’ hairdressers, are traditionally seen as repositories of confidential and often controversial opinions. History, race, colour, bigotry, politics and sex – nothing is taboo in this sanctuary.