If Martin Scorsese collaborated with Tennessee Williams, you might end up with something like Gary Lennon’s superb .45. Set in New York’s Hell’s Kitchen in 1977, this play bristles with sexual tension, moral ambiguity hangs thickly in the air, and … Continue reading →
Holly Penfield has a one-woman show (+ band and bartender!) at Hampstead’s New End Theatre. The Saloon Singer sees the cabaret artist link together a collection of songs from “One for the Road” to “Rhythm of Life” via “The Boys in … Continue reading →
In a scene towards the end of Enlightenment, one of the characters is wrapped in a sheet; one assumes the impression of a straitjacket is deliberate. Three-quarters of the way through this production, I was feeling similarly constrained. I wasn’t … Continue reading →
At several points during Darker Shores, the characters debate whether things are real because we perceive them, or whether they are real because we feel them. The 11-year-old boy next to me for last night’s performance both perceived and felt … Continue reading →
