EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
The Night of The Iguana, Noel Coward Theatre, London
Production of a Tennessee Williams play doesn't live up to its promise
In disgrace: Clive Owen as Reverend Shannon
[Brinkhoff Moegenburg]
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
JOHN GREEN relishes a powerful and moving drama that explores the lived realities of west London’s Punjabi community
MARTIN HALL welcomes a plea for greater compassion between believer and non-believer via the framework of philosophical enquiry
HEAVILY influenced by a summer Tennessee Williams spent in Tahiti in 1940, The Night of The Iguana is an odd mixture of elements.
It’s like a jigsaw puzzle whose striking individual pieces are all present but, assembled as a whole, fails to live up to expectations.
Rae Smith’s tropical set — a Mexican hotel that’s little more than a few corrugated shacks overlooking the sea adjoining an imposing rock face — is the faintly allegorical setting for a diverse group of people who, breaking or ending their journeys, deliberate on and remonstrate about their lives.
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