Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
Pinocchio perfection
PETER MASON sees a new version of the classic children's story that ticks all the boxes
Pinocchio
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
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MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
Peter Mitchell's photography reveals a poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
Pinocchio
National Theatre, London
BEAUTIFULLY wrought, and spellbinding in its execution, this Pinocchio reverses expectations.
In this version by Dennis Kelly, Pinocchio is played by a real person and some of the human characters, including Pinocchio’s father Geppetto, are represented by huge-headed puppets, each crafted in the spitting image of the actor who holds them aloft and gives them voice.
It’s a clever trick that allows the audience to focus interchangeably on either the puppet or its human embodiment with no loss of effect or drama.
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