David Hare’s latest play “I’m Not Running” lacks his characteristic wit, instead subjecting its audience to a dull and confused evening of fantasy politics.
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To the arts section, panoptic means breadth; an all-encompassing approach to the arts and culture in which we all engage.
David Hare’s latest play “I’m Not Running” lacks his characteristic wit, instead subjecting its audience to a dull and confused evening of fantasy politics.
Read MoreLegendary performance artist Bryony Kimmings returns with a brave and exhilerating solo show examining her recovery from postnatal breakdown.
Read MoreAfter our extended summer break, we’re back with a vengeance. Check out what singles have been getting the Panoptic team grooving to recently with a FIFA tune, a lovely little piece by dodie, and shift in style by LOYAL, all featuring this week.
Read MoreThe Malady of Death, Alice Birch and Katie Mitchell’s arresting new piece of Live Cinema, arrives at the Barbican and leaves a striking impression.
Read MoreNot quite softcore exploitation horror but not quite a rallying feminist cry either, Sam Levinson’s femme-fatale-led piece fails to pull out all the stops as promised – mostly because it doesn’t seem to know where the stops are in the first place.
Read MoreNine of the weirdest, most exciting shows opening in London this October, as chosen by our Theatre Editor.
Read MoreTrue to its tagline, John Ajvide Lindqvist’s new screenplay is indeed “a love story unlike any other” in certain senses – but on the other side of the coin, it is a wholly predictable and often misguided whodunit thriller just like every other.
Read MoreToo many cooks spoil the broth, and so do too many clichés – May The Devil Take You is brilliant on occasion, but mostly plays out as an inane, muddled collection of multicultural jumpscare ideas connected by a thinly-drawn plot.
Read MoreLoaded with enough intrigue to make you think yourself into a corner, School’s Out ramps up the dread at every turn, up to its (literally) explosive climax.
Read MoreCarey Mulligan and Ed Oxenbould gamely shoulder the hefty emotional weight of Paul Dano’s directorial debut, supported by an underused but nonetheless brilliant Jake Gyllenhaal.
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