Therapy is inherently dramatic. After all, it’s all about character – and it has the aim of producing a recognizable change. But who is the most affected by the process: client or therapist?
Brecht – as I suppose he intended – is always a shock to the system. With not a word on what to expect from his commitment to the strictures of epic theatre in the programme, a star of West End musical theatre cast in the lead and a venue with a history of more user-friendly shows, some are going to have to sit up straight in their seats from the very start – including your reviewer.
It’s hard to keep up with what terms are in vogue amongst those who insist on classifying and vilifying young people, but one that you don’t hear so often these days is NEET (Not in Education, Employment or Training). Back in 2015 when Gary Owen's lauded monodrama Iphigenia In Splott premiered, Effie was a NEET, and a proud one to boot.
How people dance always gives them away. Alone on the floor of a Sardinian coastal nitespot in Silent Land, the bourgeois Polish couple Adam (Dobromir Dymecki) and Anna (Agnieska Żulewska) fling themselves around as dementedly as if red ants are swarming on their bodies.
Their manic grins are unnatural. When Anna is dragged into the locals’ folk dance in the town square, the unease that grips the pair in the film’s second half emerges on her face.
Music plays a big part in the life of Dwight, an 11-year-old black lad growing up in early 80s Leeds. He doesn't fit in at school, bullied because he is "slow", and he doesn't fit in outside school, would-be friends losing patience with him.
But he does fit in at home, loved unequivocally by a protective mother, somewhat enviously by a bickering sister, and rather reluctantly by a preoccupied father. Like the records he plays on the gramophone, his life is about to spin – and he'll have to hold on to the warmth of family love in a cold world.
After the sensational reinvention of the England cricket team this summer, with their so-called “Bazball” technique, the second-best thing to have happened to the Summer Game is Freddie Flintoff’s new series.
Here, the former dynamic all-rounder and hero of the 2005 Ashes series goes back to his roots in Preston to try to convince the local kids that cricket could be a game for them. The voice-over makes sure to hammer the point home with a sledgehammer: “Cricket is the most elitist sport in Britain.”
A birthday weekend in Devon goes rather badly wrong in All My Friends Hate Me, the new film co-written by its leading man, Tom Stourton, that looks guaranteed to make shut-ins of us all.
The title is so long that the Royal Court’s neon red lettering only renders the first three words, followed by a telling ellipsis. But lyrical new play For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy lives up to its weighty name.
It’s not hard to see, watching Tom Fool at the Orange Tree Theatre, why Franz Xaver Kroetz is one of Germany’s most staged playwrights.
“You could read at home,” says Bettina (Anoushka Chadha), Year 10, her school uniform perfectly pressed, hair neatly styled. “You could be an annoying little shit at home,” retorts her sister Asha (Safiyya Ingar), Year 13, all fire and fury in Doc Martens and rainbow headphones.