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Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
A horrifying anatomy of a senseless murder charts new ground
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
The Star's critics ANGUS REID, ANDY HEDGECOCK and MICHAL BONCZA reviews I Am Love, The Penguin Lessons, Freaky Tales, The Thicket
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
La Reprise: Histoire(s) du theatre (1)
The Lyceum Theatre
Edinburgh
★★★★
If the subtitle of this Belgium import does not make you pause, then to know that it is the product of Milo Rau’s international Institute of Political Murder could turn away many a theatre enthusiast. This is, however, the Edinburgh Festival part of its intention being to introduce the new, even the provocative.
Theatre has always engaged with reality but modern theatre from Brecht and Becket has self-consciously examined how the mechanics of the art work.
Milo Rau’s ambitious Ghent Manifesto sets out the rules by which he hopes to break through the artifice of the stage to “make the representation itself real.”
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