MARIA DUARTE and JOHN GREEN review Michael, The North, Exit 8, Rose of Nevada
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The mother, the daughter, her lover and their poet
SIMON PARSONS marvels at a production of Williams’s early masterpiece that transforms the play into a symbolic slow dance of tensions, fears and desires
ALL IN THE MIND: Zacchaeus Kayode, Natalie Kimmerling, Geraldine Somerville and Kasper Hilton-Hille in the Glass Menagerie
[Marc Brenner]
GORDON PARSONS salutes the apt return of Brecht’s vaudevillian cartoon drama that retains the vitality of the boxing or the circus ring
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RON JACOBS recommends a book that charts the disparate circumstances that defined the lives of two prominent black Afro-Americans — one a communist, the other an anti-communist
CHRIS MOSS joins the hunt in Argentina for the works of Poland’s most enigmatic exile
The Glass Menagerie
Bristol Old Vic
STRIPPED of all the 1930s scenic clutter, most naturalistic productions of Tennessee Williams’s first successful play usually embrace, Atri Banarjee’s dynamically rejuvenated version takes the opening monologue as its lodestone — “a memory play” that is “not realistic” and where “everything happens to music.”
Rosanna Vize’s bare, tilted, dance floor-like stage with central column and illuminated, rotating PARADISE sign above allows movement director, Anthony Missen to turn the play into a symbolic slow dance, emphasising the tensions, fears and desires of the characters locked in their own claustrophobic worlds.
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