Under Milk Wood
None of these minor points can detract from the outstanding quality of this production of Under Milk Wood. On the whole, it just felt right.
Group authored publication covering theatre and the performing arts in London and beyond
None of these minor points can detract from the outstanding quality of this production of Under Milk Wood. On the whole, it just felt right.
Somewhere in all this, there’s a neat, touching, melancholy little musical, about shifting from the black notes to the white, and believing in the possibility of happy endings, despite experience.
If Spring Awakening were a painting, it would resemble the works of German Expressionists such as Emil Nolde or Ernst Ludwig Kirchner.
The Last Days of Judas Iscariot could make a good TV sitcom, but it fails to rise to the interpersonal demands of the stage.
The Cows Come Home is an enigmatic experience that resonates in some place deeper and stranger than the intellect.
The Only Girl in the World insists upon the importance of remembering the real people who get lost when public horrors shatter hidden, private lives.
Witchcraft is definitely not for the linguistically faint-hearted, nor for those who can’t handle a few clunking plot-devices.
In the end, Tinderbox is an entertaining and strangely uplifting little piece, if scarcely profound.
In this tragedy without a chorus, Murray’s open-mouthed mask remains mute, and no amount of impassioned testimony can bring the sprawling drama to any sort of resolution.
Sam Walters has unearthed a monumentally unfashionable old play that packs a hefty moral punch, and asks questions about the cost of personal freedom that many a liberated (post)modern would baulk at.
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