Werter, Werter
Theatre does not have to be linear or orderly, its strength lies in collage, Mikuš tells us. Werter, Werter is broken, odd, and wonderful.
Group authored publication covering theatre and the performing arts in London and beyond
Theatre does not have to be linear or orderly, its strength lies in collage, Mikuš tells us. Werter, Werter is broken, odd, and wonderful.
In Rotating in a Room of Images, participants spend the majority of the 15-minute production in pitch darkness, guided only by invisible hands and the spooky voice in the headphones.
Wondermart continues Rotozaza’s work with audio-instructed performance and develops the site-specific element introduced in Etiquette.
Warm, wise and beguiling, The Frog Princess is fifty minutes of rough magic that takes its audience on an epic imaginative journey.
Tunnel 228 isn’t meant to be found (i.e. stumbled upon at random); you’re meant to find it (i.e. actively seek it out).
Holy Mothers is full of surreal religious moments, and while not always explored to their fullest extent, they add an evocative dimension to Schwab’s renowned Austrian cynicism.
If anthropogenic climate change is the greatest challenge currently facing mankind, then right now Steve Waters’ The Contingency Plan at the Bush Theatre is the most important artwork in the country.
Dominic Hill’s production is gutsy, inventive and stylish, finding a gripping, discomfiting immediacy in Ibsen’s perplexing tall-tale.
The company are obviously talented and brimming with energy, but this patchy adaptation lacks both pathos and pace
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