JAN WOOLF ponders the works and contested reputation of the West German sculptor and provocateur, who believed that everybody is potentially an artist
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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]
PAUL DONOVAN enjoys a brutally honest rags to riches memoir of the actor’s life, even if it clearly lacks any political insight
RON JACOBS welcomes a timely biography of a contemporary of Marx and Engels who advocated revolutionary socialism
RICHARD CLARKE welcomes a study that extends an understanding of Marxism beyond human society to encompass the whole of nature
Despite an underwhelming finale, FIONA O CONNOR relishes a vivid exploration of the Cinecitta of Pasolini and Fellini at their height
MARIA DUARTE recommends a surreal and brilliant take on corporate lay-offs and their consequences
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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