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By Stuart King Wednesday, October 5 2022, 09:41
The eruption of the cultural and intellectual Black American experience which coalesced to form the Harlem Renaissance of the 1920&30s in New York, spawned a dazzlingly diverse array of talents who still inform popular culture to this day. But as the play begins, much of the vibrancy has begun to decline, heralding the gradual onset of the Great Depression.
Samira Wiley (Angel), Ronkẹ Adékoluẹjo (Delia), Sule Rimi (Sam) & Giles Terera (Guy) in Blues for an Alabama Sky. Photo by Marc Brenner
By Stuart King Tuesday, October 4 2022, 09:27
Tennessee Williams’ considerable output during his lifetime, ensures that his name is rarely out of the West End, but whereas The Glass Managerie, Cat On A Hot Tin Roof and A Streetcar Named Desire (among others) are frequently dusted-off, Milk Train… is a far less frequently observed beast, despite containing some of the playwright’s more personal musings on mortality and longing.
Sara Kestelman and Sanee Raval in The Milk Train Doesn’t Stop Here Anymore. Photo Nick Haeffner
By Stuart King Monday, September 26 2022, 09:50
Verdi’s four act Egyptian tale of forbidden love and compromised loyalties set amidst a backdrop of war with the ancient kingdom of Ethiopia, premiered in 1871 and receives a welcome reimagining at Covent Garden in Robert Carsen’s new production which boasts an uber-modern military setting, courtesy of Miriam Buether.
(RAMFIS) Soloman Howard in Aida at the Royal Opera House © Tristram Kenton
By Stuart King Saturday, September 24 2022, 20:37
If celebrity attendees on press nights are any measure of whether a show is likely to be a hot ticket, then EUREKA DAY seems destined to play to packed houses for the duration of its run at the Old Vic.
Kirsten Foster, Susan Kelechi Watson, Mark McKinney and Helen Hunt in Eureka Day at The Old Vic, photo by Manuel Harlan
By Stuart King Friday, September 23 2022, 15:14
During the Japanese occupation of Korea during the Second World War, women and girls were encouraged to do their patriotic duty by joining the Female Volunteer Corps. In Kyo Choi’s play directed by Ria Parry, we learn through a series of testimonies, that the organisation’s idiomatic name was little more than a bureaucratic smokescreen to facilitate a supply of sex slaves for the occupying troops. The thousands of victims, often duped into believing they would be serving as nurses, were referred to as comfort women.
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