The Pendulum
Alexander Fiske-Harrison’s new play at the Jermyn Street Theatre is well-made in every sense of the term.
Group authored publication covering theatre and the performing arts in London and beyond
Alexander Fiske-Harrison’s new play at the Jermyn Street Theatre is well-made in every sense of the term.
Chi Chi Bunichi is a devised ensemble performance exploring the resonant qualities of Ladino, a dying language once widely spoken throughout the Balkans, but now surviving only in songs.
Kinnear’s Piato and Cowan’s Lussurioso are just two of many excellent comic performances on display, but there’s nothing recognisable as a great tragic performance.
Director Noah Birksted-Breen shows in his use of music, puppetry, and acting with mime-like precision, a focused vision and tight control of theatrical possibilities.
This is definitely one to watch out for in the future, a face-stuffing feast of polyphonic fantasy, post-colonial farce, and riotous, rumbustious imagining.
The cast of nine works hard to bring consistency, humanity and humour to an often bitty and occasionally ranty play.
There’s only so many lofty comparisons to gratuitous violence that you can take before it descends into the superficial; missing the chance to create a truly gripping and menacing dialogue.
Some of the satirical prey we’re stalking may be a little long in the tooth, but Wolves at the Window proves that there are plenty of larks to be had in the hunting of geriatric lions.
The upstairs room of the George Tavern is one of those places you read about in books when you were a kid…
The Midnight Matinee is a scratch night that kicks off at midnight and promises a mixed bill of new work, work-in-progress and general experiment.
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