Monthly Archives: June 2018

Depending on the play, even if you are not dissatisfied, you will think, "Where are you going next?" How do you end the end? It seems that there is no way to solve the problem in the last hour, as the maniac situation comedy style is accumulated while exploding many characters and its problematic characteristics while exploding back stories and puzzles. That's why you must not stand in the intermission.

If I fell in love with Toben Bets, I wouldn't have returned. And the caption on this stage not only carries out the famous television chefs involved in couples, but also reflects the "culturally pressed abnormalities" of nuclear family life in general. It was promised. This is because each of the characters was much more (entertained) than usual.

During the rehearsal, a wonderful Jannie Dee appeared as a chef on the television station, but she was clearly drinking too much, preparing for a family party, and the celebrities in the cooking world usually do the kitchen wall. It was tied to the cross. She has an assistant (Gunve Eve Gontre), blows bubbles crazy, hurrys on the street, uses Surf London's PA to make the logarithmic text. She talks to her email about the embarrassing drunk photo of the holy chef. Also, Caroline's son (Jack Archer) is irritated by her who does not listen to her story (he will be successful in the second act), some handsome architects in love with Amanda. But he clearly prefers a mature woman. However, the red face of the bank of the bank rushes to the kitchen with a golden baton and a comical wool hat with a pom pom.

Because Patrick Leikato was a lumpy red eyebrow, an elaborate explosive anecdote about the glory of golf, a fragile rant about "homosexual Bolcheviki Vegetarian", and "Vegetarian" It's cheerful, even to his theory that it is a new stone word word, which means "dung inside." All the scenes he participate are illuminated by light. < SPAN> Depending on the play, even if you are not dissatisfied, you will think, "Where are you going next?" How do you end the end? It seems that there is no way to solve the problem in the last hour, as the maniac situation comedy style is accumulated while exploding many characters and its problematic characteristics while exploding back stories and puzzles. That's why you must not stand in the intermission.

If I fell in love with Toben Bets, I wouldn't have returned. And the caption on this stage not only carries out the famous television chefs involved in couples, but also reflects the "culturally pressed abnormalities" of nuclear family life in general. It was promised. This is because each of the characters was much more (entertained) than usual.

During the rehearsal, a wonderful Jannie Dee appeared as a chef on the television station, but she was clearly drinking too much, preparing for a family party, and the celebrities in the cooking world usually do the kitchen wall. It was tied to the cross. She has an assistant (Gunve Eve Gontre), blows bubbles crazy, hurrys on the street, uses Surf London's PA to make the logarithmic text. She talks to her email about the embarrassing drunk photo of the holy chef. Also, Caroline's son (Jack Archer) is irritated by her who does not listen to her story (he will be successful in the second act), some handsome architects in love with Amanda. But he clearly prefers a mature woman. However, the red face of the bank of the bank rushes to the kitchen with a golden baton and a comical wool hat with a pom pom.

Because Patrick Leikato was a lumpy red eyebrow, an elaborate explosive anecdote about the glory of golf, a fragile rant about "homosexual Bolcheviki Vegetarian", and "Vegetarian" It's cheerful, even to his theory that it is a new stone word word, which means "dung inside." All the scenes he participate are illuminated by light. Depending on the play, even if you are not dissatisfied, you will think, "Where are you going next?" How do you end the end? It seems that there is no way to solve the problem in the last hour, as the maniac situation comedy style is accumulated while exploding many characters and its problematic characteristics while exploding back stories and puzzles. That's why you must not stand in the intermission.

If I fell in love with Toben Bets, I wouldn't have returned. And the caption on this stage not only carries out the famous television chefs involved in couples, but also reflects the "culturally pressed abnormalities" of nuclear family life in general. It was promised. This is because each of the characters was much more (entertained) than usual.

During the rehearsal, a wonderful Jannie Dee appeared as a chef on the television station, but she was clearly drinking too much, preparing for a family party, and the celebrities in the cooking world usually do the kitchen wall. It was tied to the cross. She has an assistant (Gunve Eve Gontre), blows bubbles crazy, hurrys on the street, uses Surf London's PA to make the logarithmic text. She talks to her email about the embarrassing drunk photo of the holy chef. Also, Caroline's son (Jack Archer) is irritated by her who does not listen to her story (he will be successful in the second act), some handsome architects in love with Amanda. But he clearly prefers a mature woman. However, the red face of the bank of the bank rushes to the kitchen with a golden baton and a comical wool hat with a pom pom.

MACHINAL Almeida, N1

Because Patrick Leikato was a lumpy red eyebrow, an elaborate explosive anecdote about the glory of golf, a fragile rant about "homosexual Bolcheviki Vegetarian", and "Vegetarian" It's cheerful anyway, even to his theory that it is a new stone word word, which means "dung inside." All the scenes he participate are illuminated by light.

There is also the most imminent problem for the characters (Charlie Brook, who played the newcomer Sally, was so impressive that he was mistaken for another person), and almost all can be negotiated. Homosexuals, affair, religious delusions, Syrian refugees, suicide of Afghanistan returning soldiers, postwar trauma of Japanese soldiers, confused sclerosis, autism, and the British empire. I started thinking that Betz would bet on how many problems could be taken without touching Brexit.

What will happen in the second act of this entertainment is that the answer is more drunk, rough, and more interesting (Original Theater Company Aristia Whutley clearly enjoys this director's riot. ). The characters were mature, and Mike's father, especially the insights that did not tell his son what he liked. The archer who plays the son is sharp and sharp. The mea t-cut kitchen knife brought to Scene 1 gives a personal moment, appropriate for a deep theater tradition.

Box Office 0207 870 6876 Until July 7

Monogamy Park Theater N4 does not accept comments.

June 12, 201 8-14:02

Michael Adair Shutters from The Strictly Old Patriarchy ...

Modern nervous women, teachers. What should I do with them? -One of the exhausted male characters talks to another character. At the right time for the METOO generation, Sophie Tredwell's "Machinal" revives ... First performance in 1928. The fun production of Natalie Abahami is immersed in us with the enthusiastic and deep fear of this phantom masterpiece.

This is Helen's play played by the fascinating Emily Berrington. Helen is working as a quick record in New York. She lives with a poor mother (Dennis Black) under a small apartment with the sound of the track. Meanwhile, her employer, Jones (Jonathan Livingston), does not see her well. Why? It is decided because Helen's hands are beautiful. They don't care about the fact that Helen is touched by an unconscious boss, plays a wedding, and that Helen is desperately crying between honeymoon. Jones is exactly the same. Jones almost nothing to notice. Jones wants to spread his legs and talk to a beautiful wife an interesting story. I think that because I worked a lot, I can enjoy my life by succeeding the marks. At one point, he dared to say:

JULIE Lyttelton, SE1

As a visual spectacle, the performance is a sight to behold. The incessant cacophony of sound - the clanging of steel doors and garbage tanks, the tireless rattle of typewriters and pneumatic exercisers, the repetitive 8-bit whine of a child's Game Boy - serves to create a wall of sound that edges us in, surrounds us. The rhythmic, suffocating dialogue matches his - clicking back and forth under a metronome. All the music and sound effects are well chosen and perfectly placed, which is in fact a great reward for Ben and Max Langham's sound and composition. Miriam Boitart's set design also plays a part. An angled mirror occupies the entire back of the scene, so in fact we see everything in a double volume, further increasing the claustrophobia. Each of the nine chapters of the situation is bathed in a dazzling light.

But it's not all hell and nightmare. In an attempt to escape the constraints of a husband she does not desire and the conspicuous shirt of respectability, Helen goes to a bar. In a scene filled with cigarette smoke, she witnesses the conversation of other couples. One couple agrees with the contents of the novel, the older man knows the potency of the sherry "AMONTYLYADO" for the younger man and tries to seduce him. A complex interplay of looks, sounds and scents seduces the visitor. And Helen finds freedom in this life and falls in love. Then the mechanical sounds fall silent for a while, replaced by the pleasant hum of a downpour, and the claustrophobic mirror suddenly reflects the vastness of the night sky.

It's a dazzling track that deserves the greatest tribute to those who participated in the technical production. Important and convincing, it touches on the fact that Sredera's work is as alive today as it was 90 years ago.

CASSA 020 7359 4404 Until July 21

Machinal Almeida, N1 is closed to comments.

June 7, 2018 - 23:28

Strindberg crashes into the wall, the bird crashes into the mixer

We are in a country house in Hamsted. The owner's daughter is enjoying a birthday party. Rave illuminated by the harsh purple lighting, and the glossy hair Androgins are screaming. In a flashy kitchen downstairs, the servant Ghana driver Gehn (Eric Kofu Ablefa) and the maid Christine (Tarissa Taycheira) have been confused and drinks a bite of Daddy's absence. I comment on this confusion. The party girl Julie descends downstairs, jumps on the table barefoot, showing Jean more and more thighs. And the trouble starts here.

Is it a familiar scenario? That's right. Polly Stenham wrote "This face" at the age of 19 and brilliantly described the evils of grew up in a wealthy family of drug addiction. A few years later, she announced "No Block", but to be honest, instead of subtle pain, the rich and decadent Bohemian is more interesting for others. The belief was oozing out and I was angry. This attitude can only be tolerated if you can relieve the situation like Noel Coward. But Stenham is not yet. It is a drama dyed by the end of the century, so that Ipsen resembles P. G. Wardhouse.

The reason that Stenham had to borrow from the classics is hard to understand, apart from the obvious reasons for marketing. There are other ways to appeal to the hypocrisy and inequality between the wealthy London and the immigrant servant, without relying on unfortunate old Sweden. Julie Stenham is 33 years old who returned to his hometown to live with a rich father, enjoyed, enjoyed with a rich father, and enjoyed everything from the rich father, rather than the 1888 Ingenite, which would have changed his life. He is a trusted fund. The heroine's corrupt behavior and its problems are related to the fact that she is not her herself, and the background of her mother's death rather than social pressure. < SPAN> We are in a country house in Hamsted. The owner's daughter is enjoying a birthday party. Rave illuminated by the harsh purple lighting, and the glossy hair Androgins are screaming. In a flashy kitchen downstairs, the servant Ghana driver Gehn (Eric Kofu Ablefa) and the maid Christine (Tarissa Taycheira) have been confused and drinks a bite of Daddy's absence. I comment on this confusion. The party girl Julie descends downstairs, jumps on the table barefoot, showing Jean more and more thighs. And the trouble starts here.

TWO NOBLE KINSMEN Shakespeare’s Globe, SE1

Is it a familiar scenario? That's right. Polly Stenham wrote "This face" at the age of 19 and brilliantly described the evils of grew up in a wealthy family of drug addiction. A few years later, she announced "No Block", but to be honest, instead of subtle pain, the rich and decadent Bohemian is more interesting for others. The belief was oozing out and I was angry. This attitude can only be tolerated if you can relieve the situation like Noel Coward. But Stenham is not yet. It is a drama dyed by the end of the century, so that Ipsen resembles P. G. Wardhouse.

The reason Stenam had to borrow from the classics is hard to understand, apart from the obvious reasons for marketing. There are other ways to appeal to the hypocrisy and inequality between the wealthy London and the immigrant servant, without relying on unfortunate old Sweden. Julie Stenham is 33 years old who returned to his hometown to live with a rich father, enjoyed, enjoyed with a rich father, and enjoyed everything from the rich father, rather than the 1888 Ingenite, which would have changed his life. He is a trusted fund. The heroine's corrupt behavior and its problems are related to the fact that she is not her herself, and the background of her mother's death rather than social pressure. We are in a country house in Hamsted. The owner's daughter is enjoying a birthday party. Rave illuminated by the harsh purple lighting, and the glossy hair Androgins are screaming. In a flashy kitchen downstairs, the servant Ghana driver Gehn (Eric Kofu Ablefa) and the maid Christine (Tarissa Taycheira) have been confused and drinks a bite of Daddy's absence. I comment on this confusion. The party girl Julie descends downstairs, jumps on the table barefoot, showing Jean more and more thighs. And the trouble starts here.

Is it a familiar scenario? That's right. Polly Stenham wrote "This face" at the age of 19 and brilliantly described the evils of grew up in a wealthy family of drug addiction. A few years later, she announced "No Block", but to be honest, instead of subtle pain, the rich and decadent Bohemian is more interesting for others. The belief was oozing out and I was angry. This attitude can only be tolerated if you can relieve the situation like Noel Coward. But Stenham is not yet. It is a drama dyed by the end of the century, so that Ipsen resembles P. G. Wardhouse.

The reason Stenam had to borrow from the classics is hard to understand, apart from the obvious reasons for marketing. There are other ways to appeal to the hypocrisy and inequality between the wealthy London and the immigrant servant, without relying on unfortunate old Sweden. Julie Stenham is 33 years old who returned to his hometown to live with a rich father, enjoyed, enjoyed with a rich father, and enjoyed everything from the rich father, rather than the 1888 Ingenite, which would have changed his life. He is a trusted fund. The heroine's corrupt behavior and its problems are related to the fact that she is not her herself, and the background of her mother's death rather than social pressure.

Only the character Jean, a strict ambition and a big coincidence, is close to the original. Stenham's social plan is quite clear, especially drivers (good expressions), frustrated by the rich prostitute, Julie. And again, Christina, the attendant, finally washed her bloo d-covered underwear, picked up from an abortion clinic, listened to her endlessly, but she was a friend. When giving a resentment speech that is completely like a strindberg about despised.

However, a calm choreography of glossy visual benefits (Tom Scat's design is wonderful) and cast participants who do not speak (Anne E is worth making a reservation for a real rave). Despite the misalignment, the production of the carry cracknel has become a zo o-like, "see beautiful luxurious lazes!" It's a point. It is a zo o-like production. The dancers glide from top to bottom with a cockroach-like crawling, and disappear into the kitchen equipment that has made mysterious changes-it may actually be a dream sequence-further in the scene. There is a sweet moment. It is unusual to see the instructions on the stage on the stage.

And Julie, who is forcibly, (although it returns to the components of Strand Veri again), takes his pet Canarian to Carbo Verde with Gene in a way that lacks imagination. The visitors laugh because they insist. When she is asked to dispose of it, she puts it in Magic Mix. Julie, who plays Vanessa Kirby (as expected), is crying in sadness, with her own terrible past trauma. However, the laughter and ugly voice of Majimix upset everyone. For example, we have not actually experienced anything. too good to waste.

Box Office 020 7452 3000 Travelex Season starts on September 8th. NB and NT live at the movie theater on September 6th

Julie Littton, SE1 does not accept comments.

MY NAME IS LUCY BARTON Bridge, SE1

June 7, 201 8-5:38 PM

Loud Love Cumps by Knight < SPAN> Only the character Jean, who is attracted by a great coincidence, is close to the original. Stenham's social plan is quite clear, especially drivers (good expressions), frustrated by the rich prostitute, Julie. And again, Christina, the attendant, finally washed her bloo d-covered underwear, picked up from an abortion clinic, listened to her endlessly, but she was a friend. When giving a resentment speech that is completely like a strindberg about despised.

However, a calm choreography of glossy visual benefits (Tom Scat's design is wonderful) and cast participants who do not speak (Anne E is worth making a reservation for a real rave). Despite the misalignment, the production of the carry cracknel has become a zo o-like, "see beautiful luxurious lazes!" It's a point. It is a zo o-like production. The dancers glide from top to bottom with a cockroach-like crawling, and disappear into the kitchen equipment that has made mysterious changes-it may actually be a dream sequence-further in the scene. There is a sweet moment. It is unusual to see the instructions on the stage on the stage.

And Julie, who is forcibly, (although it returns to the components of Strand Veri again), takes his pet Canarian to Carbo Verde with Gene in a way that lacks imagination. The visitors laugh because they insist. When she is asked to dispose of it, she puts it in Magic Mix. Julie, who plays Vanessa Kirby (as expected), is crying in sadness, with her own terrible past trauma. However, the laughter and ugly voice of Majimix upset everyone. For example, we have not actually experienced anything. too good to waste.

Box Office 020 7452 3000 Travelex Season starts on September 8th. NB and NT live at the movie theater on September 6th

Julie Littton, SE1 does not accept comments.

June 7, 201 8-5:38 PM

Loud Love Cumps by Knight Strict Ambitious and the character Jean, who is attracted to a big coincidence, is close to the original. Stenham's social plan is quite clear, especially drivers (good expressions), frustrated by the rich prostitute, Julie. And again, Christina, the attendant, finally washed her bloo d-covered underwear, picked up from an abortion clinic, listened to her endlessly, but she was a friend. When giving a resentment speech that is completely like a strindberg about despised.

However, a calm choreography of glossy visual benefits (Tom Scat's design is wonderful) and cast participants who do not speak (Anne E is worth making a reservation for a real rave). Despite the misalignment, the production of the carry cracknel has become a zo o-like, "see beautiful luxurious lazes!" It's a point. It is a zo o-like production. The dancers glide from top to bottom with a cockroach-like crawling, and disappear into the kitchen equipment that has made mysterious changes-it may actually be a dream sequence-further in the scene. There is a sweet moment. It is unusual to see the instructions on the stage on the stage.

KILLER JOE Trafalgar Studios, SW1

And Julie, who is forcibly, (although it returns to the components of Strand Veri again), takes his pet Canarian to Carbo Verde with Gene in a way that lacks imagination. The visitors laugh because they insist. When she is asked to dispose of it, she puts it in Magic Mix. Julie, who plays Vanessa Kirby (as expected), is crying in sadness, with her own terrible past trauma. However, the laughter and ugly voice of Majimix upset everyone. For example, we have not actually experienced anything. too good to waste.

Box Office 020 7452 3000 Travelex Season starts on September 8th. NB and NT live at the movie theater on September 6th

Julie Littton, SE1 does not accept comments.

June 7, 201 8-5:38 PM

Loud Love Cumps by Knight

Barry Rutter and Grove made friends for friends:. Then the strong violent management with Northern Broadside (and often his own performances) is performed here in a funny, brand new regime with a program around 1996, when he did not arrive at the anti-tract from the airport. In this work, in collaboration with John Fletcher, it becomes a rather absurd Shakespearean work, mainly based on Chaucer. Palamont and Artsit distinguish the Vow of Infinite Brotherhood, then lost in Kutuzka, but here when they see the lord's sister of Theseus Emilia (Elora Torquia), they do not want from her, both wish for her. Artsit is banished, and Palamont releases the jailer's daughter (like Mr. Toad, only in an even more stupid mask). And it goes on until the lord decides not to solve everything with a fight, for example, with a violent peasant dance and click. Indeed, if an Italian romance has a right to base itself on an English knightly fairy tale, the most undeniable is the mounting of a host of dances on sabots, morris, morris, scepters, colorful birds, greenies, accidental straw animals on sticks. In addition to this fine acting, the Lord of Tesy is irritatingly confused by pretexts (your favorite rant, "What is an ignorant, reckless, wicked traitor?") The second lover: "Emilia, if you should ever die, would you take another for my husband?" "I can't! They're both very good people! Including the comedic Ophelia. Jude Acovondik - Big Tesy, the rival knight is lovely, Paul Stoker and Brian Dick play wide-legged as a pair of young men, but the only thing apart in every scene (at least when dancing recklessly with sabots, distraught over a broken love) - This is Francesca Mills in the role of the daughter of a small, initiative, rather gullible and romantically mischievous prison guard. The cunning doctor who begs her to agree to marry John Trenchard, a harem-pants, although she prefers Paramone, is custard-colored.

She has special qualities: an expressive and innocent character combined with a crazy final flame that forces all the other players to look vanilla. In the last one, she was on the Hill in the "Cyrano" North-Broadside tour, and I actually wrote that this time she stole the show "not because it actually has "limited growth" but because of the athletic, actually funny synchronization, clarity and sincerity of the response that can be trusted unconditionally, it will be a treasure on any Hill, in any company. I say it again.

The poetry? Yes, she does too. Not the best Shakespeare, but it has beautiful lines. And the moral (considering that the finish is not a simple blunder, and the horse behind the stage is faster) is pretty healing. Poor Teppei gives his sister a sudden winning horse and tells her to "be grateful for what is actually there".

To Barry Rutter. Come one more into this world. And in the world to come, cheers to the Earthlings, for whom the universe is yours.

CASSA 020 7902 1400 June 30 Rating 4

Comments Off on Recording 2 Generous Kinmen Shakespeare's Globe Theatre, SE1

STITCHERS Jermyn St theatre WC1

June 7, 2018 - 8:32 AM

A writer, a mother, a life

The elegant new "The Bridge" continues to show its own unique diversity - firmly. Then there is the classic tragicomedy ("Young Marx"), the mass boiling "Caesar", followed by the intimate pastoral quartet, and now the light place, the light square, inviting intimacy, inviting space of 900. And 90 minutes. A greedy projection, fine lighting, a hospital bed and a chair, and a single narrator, narrating a not ordinary life.

Risk? On the other hand, the artist is Laura Linney, the enthusiastic and wise star of the screen and Broadway, the creator of this blockbuster is Pulitzer Prize winner Elizabeth Strogg, and the screenplay is Rona Munro, who brought to the world the NT NT hit Nicholas Hytner's "James' Game". And the director is not another person like Richard Eyre, for example. There is actually no similar risk.

And if this particular tone of intense, right-wing emotional autobiography with a strong flavor of creative writing courses is for you, this is the top of the genre. And it is absolutely not true to the chat "even less exceptional" due to the fact that in the novel she portrays her heroine - a successful writer - an individual decline. She recalls the nine weeks she was conducted in the clinic with a certain non-needle disease, regardless of her husband and two small daughters. But to her surprise, she sees her mother, who was divorced long ago, sitting at her bedside and telling a pleasant situation about a long-time neighbor. The memoir revives in the memories of the writer, who spent a rather bleak and lonely childhood in the arable land of Illinois, in an isolated home without books, television and friends, with war and complexes that divided the founder and sensually. The trick is that Lucy Barton actually finds a lot of solace in the positive stay, although not metal, of her real mother, in return for discontent and desire to come to hell. A slow catharsis comes.

Linni is superb, alternating between Lucy and her grumpy, tough mother. Graceful projections show the Chrysler Building outside the window, memories of wide fields, the couple's first apartment, and the luxurious, worrying, yet inspiring freedom of New York and its people during the AIDS crisis. The strongest portrayals are childhood memories of loneliness and the feeling of not being able to identify and belong even in marriage. But typical of post-alleyr, she moves on to a legitimate affirmation of writing and the "relentless" need to focus on oneself and tell "one story".

And sometimes it wears you down a bit. A bit... a bit... I don't know, I feel a bit British. Suddenly the spell is broken and you want her to tell you other stories. I would pay a lot of money to see the wonderful Linni tell different stories in a space like this, in a production like this. But maybe not this ostrich story. But it's a cool performance, and it might just be for you.

Box office: 0843-208 1846. Rated 3 until June 23rd

My name is Lucy Barton Bridge, SE1 is closed to comments.

June 5, 2018 - 12:59 PM PM

Luke Jones is violent, cold, nightmarish.... and great lines

Orlando Bloom - jeans, cowboy hat, combed hair, flickering sulky face - is as lifelike as Texas gets. You'd think a side job as a police detective and custom killer would be boring. But Killer Joe speaks quietly with quiet gunfire and a bouncy Texas voice. Madness surrounds him.

THE BE ALL AND END ALL Theatre Royal Windsor, tour ending

Chris (a manic, fantastic Adam Gillen) wants to kill his mother. No one cares if his mother is alive or dead - him, his sister, his father, his father's new wife... Tracy Letts' first play (he would win a Pulitzer a few years later for August, Osege District). Every plot twist is subtly thrust, every scene a constant heating of a pressure cooker. And the dialogue! Sharp, wicked, and pure wit (as opposed to theatrical jokes).

Of course, it all goes wrong in the hands of the fool. Fortunately, Simon Evans (who not long ago directed another Letts play, Bugs) directs some incredibly talented performances to near perfection. Steffan Rhodri - a great choice - is brilliant as Coach's potato dad, a sort of Homer Simpson killer. Naive Mackintosh (his new wife Charles) is the perfect mix of smile on his face and conspiracy in his eyes. Adam Gillen is once again a bulging-eyed maniac, perfect for Chris's dim-witted, scheming son. And of course Orlando Bloom is full of charisma, his dark, somewhat revealing charm perfectly suited to the menace of killer Joe. The only thing that bothers me about this production is Sophie Cookson as Dottie, the daughter who takes on Killer Joe as a client and gets the job done. Her performance is one of the few shades of innocence in this savage world. Her romance and protracted aggression are some of the most painful threads in the play. But the emphasis is on the rodeo rides all around. It's a bit distracting.

A tornado of blows, gunfire, slamming doors, a discarded pistol clinging to the throat.... No thin strokes. I felt every blow. Evans now speeds up, then slows down, and everyone wavers for a moment of slow motion. 10/10 ferocity.

Richard Howera's colorful lighting of Smart Grace Trailer Park, Dusty Sunny, Nightmare, Edward Lewis's chilling musical replica, the lurid accents. A night this sharp, this intense, this cruel could never be experienced in the theater.

Cassa Until 18 August - 0844 871 7632

Killer Joe Trafalgar Studios, SW1 is closed to comments.

June 2, 2018 - 6:28pm

Hope is a Tapestry for

Lady Anne 3 is the daughter of the Lord Devonshire and the sister of Kathleen Kennedy and Debo Mitford. Like the Mitford girls, she didn't go to high school, and surviving a dreary war gave her an independent mindset. She visited prisons throughout her life, finding artistic and meditative release in narrow crafts. For example, 20 years ago she founded the Fine Cell Company Werk. She teaches prisoners fine sewing and quilting, which she sells to top stores. This allows male prisoners (and there are female prisoners, but the majority of prisoners are male) to build up a reserve fund for when they are released.

Full disclosure: I am considered a patron of this organization, and have watched the women of the Tsarskaya Needlework Secondary School study, recommend, and provide materials (but no scissors...) to seamstresses who would most practically be unable to work for the camera under any circumstances. It's hard to believe it took Lady Anne 30 years to rise through the ranks, and that she was treated as an "irritable woman" during that time.