DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
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For this (comic) relief, much thanks
GORDON PARSONS is glad to have his mind taken off the election by a perfectly pitched farce
farce
New releases from The Tenementals, Nik Bartsch’s Ronin, and Kuunatic
SCOTT ALSWORTH hears the call to burn down and rebuild the video game industry from the bottom up
The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
ALEX HALL is intrigued by a detailed history of Gaza that demonstrates its historic resilience and changing economy
RON JACOBS welcomes the long overdue translation of an epic work that chronicles resistance to fascism during WWII
MAYER WAKEFIELD is chilled by the co-dependency of two lost souls as portrayed by German communist playwright Franz Xaver Kroetz
The Merry Wives of Windsor
The Royal Shakespeare Theatre, Stratford-upon-Avon
SHAKESPEARE is notable for spicing his tragedies with touches of comedy and, conversely, his comedies with tragic grace notes. Right on key with our ongoing election shenanigans, the RST launches arguably the playwright’s only true farce.
Blanche McIntyre knows that the essence of successful farce depends on pace and timing and her perfectly pitched production carries the play’s well-worked content of what were, even for the Bard, old gulling jokes with confident energy.
But even this wouldn’t work without a team of actors who can handle the improbabilities of the plot convincingly.
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