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GORDON PARSONS recommends an entertaining account of the years between Germany’s defeat in WWI and Hitler’s seizure of power
A playhouse that’s perfect for Jacobean acts
MIGUEL YOSHIDA explains the evolution and influence of the Cuban Casa De Las Americas in joining culture to the revolutionary struggle
ANDY HEDGECOCK is charmed by a skilful adaptation of Tove Jansson’s lyrical portrait of three generations of a family, overcoming grief
ALEX HALL treads warily through a messy, dialectical struggle fought in the mundane machinery of driving licences, criminal law, and birth registries
MICHAL BONCZA, FIONA O’CONNOR, JAMES WALSH and ANGUS REID review Atlas of Disappearance, Love Me Tender, Bouchra, and This Tempting Madness
Flitting between myth and the modern world, Medusa is determined to steer clear of human affairs. When her resolve crumbles, the result is petrifying in every sense
IN JANUARY the Sam Wanamaker Playhouse in London opened for its inaugural production The Duchess of Malfi, directed by Dominic Dromgoole and starring Gemma Arterton.
The space itself is a remarkable addition to London’s cultural landscape. It’s a recreation of a Jacobean indoor theatre which, while drawing on the 17th-century Blackfriars Playhouse, makes no claims to be an exact replica. It is an “archetype” but, whatever the space’s configuration, its productions have been fantastic.
Right from the opening of John Webster’s play, the atmosphere was electric. A remarkable sense of claustrophobia was immediately established and to sit in close quarters with David Dawson’s Ferdinand was unsettling and uncomfortable.
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KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
England survived a thrilling Azteca encounter, but the stadium and its supporters created one of the tournament’s defining nights, writes JAMES NALTON
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
