Latest editorial
Nothing, says ANDY HEDGECOCK, can rescue this undistinguished amalgam of ponderous melodrama and shallow philosophical speculation
Losing the will to live on the margins
Despite good intentions this 1928 philosophical farce runs out of steam, writes a disappointed MAYER WAKEFIELD
JAMIE BRITTON invites readers to visit 3,500 locals as part of a marathon artistic pub crawl
JOHN GREEN welcomes a valuable and incisive analysis of a world become hyperpolitical but without the mass movement institutions to represent it
JAMES WALSH is moved by a provocative and original take on the relationship between ecology and architecture, and a plea to work with, not against, the materials and minerals of our world
An immersive, participatory display by a queer Australian Aboriginal performer, and a rebellious unravelling of traditional Scottish dance
The Suicide at the National Theatre, London SE1
3/5
YOU cannot help but wonder what Nikolai Erdman would make of this reimagining of his 1928 philosophical farce The Suicide. It’s highly likely that most of it would go completely over his head.
Similar stories
EWAN CAMERON witnesses a political farce that lacks a clear message
Family issues and dragon-fuelled history amount to a vacuous spectacle that ill-fits the theatre, muses SIMON PARSONS
MICHAL BONCZA, FIONA O’CONNOR, JAMES WALSH and ANGUS REID review Atlas of Disappearance, Love Me Tender, Bouchra, and This Tempting Madness
MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth