MARIA DUARTE recommends a remarkable study of the friendship between a Palestinian and a Pakistani, broken by a hostile state
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No cutting edge to Beckett’s knife
MATTHEW HAWKINS rakes through un-fancy words and flair-free summaries to find who and what might be flamboyant
PETER MASON is exhilarated by an exciting, well-considered and historically minded tribute to the great Trinidadian instrument
Reducing historical lives to ‘male’ and ‘female’ roles, we lose the nuance of those lives and a clearer understanding of past societies, suggests CLAIRE ISABELLA GILMOUR
CHRIS SEARLE relishes the genius of pianist Alexander Hawkins, his many ensembles, and his new album
No’s Knife
The Old Vic, London SE1
2/5
ACCOMPLISHED Samuel Beckett actress Lisa Dwan scales the heights of ambition by interpreting the great playwright’s Texts For Nothing, a selection of prose works never intended for the stage.
Delivering them in a four-part, 70-minute monologue with no interval, Dwan is first seen trapped in the crevice of a rock face before prowling around a wasteland and then perching herself on high, as if encased in a birdcage.
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GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship