PAUL DONOVAN applauds an intriguing multi-layered depiction, dominated by a stunning impersonation of Marilyn herself
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MAYER WAKEFIELD draws attention to the plight of small theatres and their role in nurturing new talent
Ruby Campbell as Kelly and Amy Molloy as Gill
[Pic: Tristram Kenton]
LEO BOIX applauds an audacious, self-questioning film about grief, friendship and film-making
MARY CONWAY admires a brave and topical study of Armageddon that is, unfortunately, unable to come to a conclusion
ANDY HEDGECOCK, JAMES WALSH and JAMIE BRITTON review Hanging by a Wire, I Want Your Sex, The Pout-Pout Fish, and Rise of the Foot Soldier: Retribution
Chris Searle speaks to US pianist RAN BLAKE
The Bard hands out medals for his Edinburgh campaign and urges us to support The Men They Couldn’t Hang
Akedah
by Michael John O’Neill
Hampstead Downstairs, London NW3
AT THE end of last year, the Hampstead Theatre had 100 per cent of its Arts Council funding withdrawn in a move that threatens its very existence, and particularly its new writing programme.
Without a U-turn, plays such as Michael John O’Neill’s 2019 Bruntwood Prize-winning Akedah, are unlikely to find a stage.
That would be a travesty because O’Neill is clearly a voice worth listening out for, as well as being a writer who will benefit from seeing his work performed in a full-scale production.
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MARY CONWAY admires a brave and topical study of Armageddon that is, unfortunately, unable to come to a conclusion
EWAN CAMERON witnesses a political farce that lacks a clear message
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY