WILL STONE is frustrated by a performance that chooses to garble the lyrics and drown the songs in reverb
Latest editorial
A target sadly missed
LYNNE WALSH sees form suffocate all-important content in a groundbreaking 1928 play
EXTRAORDINARILY TALENTED: Rosie Sheehy (Young Woman) supported by Daniel Bowerbank (Prisoner)
[Manuel Harlan]
RITA DI SANTO points out the social experience of exploitation and oppression that inform the popular winners at this year’s festival
PETER MASON is tickled by a new book and exhibition that mine the rotten anachronism of the monarchy for laughs
A Nazi zeppelin whodunnit, death amidst detoxification, a twistaholic’s delight, and noir fiction for criminals
STEVE JOHNSON salutes the mellifluous tones and clear-minded political message of a uniquely relevant Birmingham-born singer-songwriter
STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
Machinal
The Old Vic, London
WRITER Sophie Treadwell created plays with a female audience in mind, and did a grand job with this piece, first staged in 1928.
The crying shame is that the production, nearly a century later, does not serve its central theme well enough.
Similar stories
MARY CONWAY is blown away by a flawless production of Lynn Nottage’s exquisite tragedy
MARY CONWAY applauds the study of a dysfunctional family set in an Ireland that could be anywhere
MARY CONWAY applauds the dramatic reconstruction of one woman’s experience in one precise location in Gaza in the present era
MARY CONWAY applauds a worthy revival of the US 1939 classic drama that studies the dehumanising consequences of affluence