SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
Pottery class
JAN WOOLF applauds the musical dramatisation of a life where songs accompany the messy and marvellous stage business of throwing pots
PAUL FOLEY recommends an extraordinary double bill that packs a punch and leaves you reeling
MARY CONWAY is disappointed by a play about AI that results in a deadening disconnect for its audience
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
MATTHEW HAWKINS pays tribute to the performance artist and costumier, Leigh Bowery
SIMON DUFF reviews a new composition by German composer and pianist Florian Weber that blurs the line between where improvisation ends and composition begins
New releases from The Jim Mullen Quartet, Caroline Kraabel/John Edwards, and Matthew Muneses/Riza Printup
In Clay
Upstairs at the Gatehouse
Highgate Village, London
FIRST the set: the 1930s Parisian artist’s studio is an installation in itself; easels, pots, brushes, drapes, canvases and a potter’s wheel, inviting us in, preparing us for something very classy.
And that’s what we get as Marie-Berthe Cazin (Rosalind Ford) sings the story of her relationships and creative development in a French accent. Her true subject is clay, more than her husband Michel or her friend Natalie.
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