If the ‘Januhairy’ movement is to succeed, it must go beyond the first month of the year.
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London Fashion Week – Women’s Collections SS20
The Panoptic is back at fashion week this Spring Summer 20’ season reviewing the latest trends in textile technologies – highlighting several designers pushing the boundaries of sustainable and ethical fashion with the ‘Positive Fashion’ exhibition taking over showrooms. Ethical fashion is always at the heart of today’s debate and the industry is addressing this…
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Review: Peter Gynt (National Theatre)
David Hare’s adaptation is good, but James McArdle is better in the National’s gripping new production of Ibsen’s meandering epic, Peter Gynt.
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Review: Does My Bomb Look Big In This? (Soho Theatre)
Nyla Levy’s new drama of teenage radicalisation tells a beautiful, well-crafted, and humanising story. I really hope the audience took it to heart.
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Review: Metamorphosis (Tristan Bates)
As the audience shuffle in to Metamorphosis at the Tristan Bates Theatre, extracting themselves from coats and squeezing into seats, they are also aware of another, rather more choreographed, movement taking place. To the low thump of base, confined to the corner of the stage, an ensemble repeat the same sharp movements, trance-like. Collide Theatre’s…
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Review: Three Sisters (Almeida)
Cordelia Lynn updates Chekhov’s timeless Three Sisters into a jarring, nostalgic piece of brilliance.
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Review: Pah-La (Royal Court)
Abhishek Majumdar much-delayed Pah-La finally makes it to the Royal Court stage, but fails to deliver on its promising first half.
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Review: Shipwreck (Almeida)
Anne Washburns wide-reaching theatrical essay Shipwreck delivers a host of challenging and nuanced conclusions about living in post-truth era of Donald Trump’s America
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Review: Pinter 7 (Harold Pinter Theatre)
The riveting stage adaptation of A Slight Ache outshone its more star-studded counterpart in the final set of Pinter’s short plays
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Going beyond the “Januhairy” movement: Wave your arms in the air, if you’ve got underarm hair!
If the ‘Januhairy’ movement is to succeed, it must go beyond the first month of the year.
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Review: The Tragedy of King Richard the Second (Almeida)
Richard II opens in a big grey box. It is Richard’s prison cell, flanked by gun-metal grey walls and grated floors, filled with muted tones, buckets, and emptiness. Richard opens with a monologue duplicated from its original home later in the play, and it’s the clear genesis of the key idea behind the production: a…
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