Latest news with #theatre
CNA
an hour ago
- Entertainment
- CNA
Theatre company Wild Rice rejects characterisation of play as glamourising drug abuse
A Singapore theatre company says it is "deeply disappointing" to have its play characterised by authorities as glamourising drug abuse. Wild Rice says the banning of its show "Homepar" just a day before staging was based on a 'reductive reading of nuanced and empathetic work". Nicolas Ng reports.
The Guardian
an hour ago
- Entertainment
- The Guardian
Inflexible autocrat, unchecked power – Coriolanus is ‘never not timely'. So why is this Shakespeare play so rarely staged?
When Bell Shakespeare artistic director Peter Evans was handed the keys to the company's new home at Pier 2/3 in Sydney's Walsh Bay, he knew precisely with which play he wanted to christen the space. With its generously proportioned stage, and unusually intimate 250-seat audience accommodation, Coriolanus – one of Shakespeare's most political, and least-performed, tragedies – was his top pick. It didn't happen. The national theatre company instead opted for Shakespeare's crowd pleasers – Twelfth Night, Romeo and Juliet, Macbeth – to introduce audiences to its new harbourside performance space, the Neilson Nutshell. But three years on, Evans has finally got his way as Bell Shakespeare tackles Coriolanus for the first time in almost three decades. In the new production, Shakespeare's bruising exploration of politics, power and civic identity plays out in front of an audience split into two sides; where you sit will determine whose side the cast assumes you are on, patrician or plebeian. Palestinian Australian actor and Logie winner Hazem Shammas plays Coriolanus, a decorated general whose rigid elitism and disdain for the common people make him both hero and heretic. Shammas played Macbeth for Bell Shakespeare two years ago and Evans finds the juxtaposition of the two roles compelling: while Macbeth charts the psychological collapse of an ambitious man, Coriolanus is all rigidity and resolve – a man with no time for soliloquies or self-doubt. His inflexible convictions on the right of Rome's elite to continue wielding unchecked power fly in the face of the fledgling republic's ambitions for democracy, an experiment dependant on compromise. Sign up for our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning Coriolanus cannot bend so he breaks, and in spectacular fashion; banished from Rome, the general switches sides and joins the enemy, his love for his city turned to vengeance in a binary act of political spite. The political thriller transforms into a revenge drama. 'Coriolanus is absolutely a character of conviction, and he has very clear and elitist views of the way Rome should work,' says Evans. 'And what makes him remarkable is how, to his own detriment, he steadfastly sticks to those convictions. 'I'm interested in how complicated that makes the audience feel when they're watching it – you disagree with him, but you can also see the appeal of his certainty.' With its precarious dance between autocracy and democracy, Evans resisted mapping the play, set in the fledgling democracy of the Roman Republic circa 490BCE, too neatly onto 'modern headlines'. And Coriolanus is, after all, the antithesis of a populist leader. Evans has staged the play in another distinctive time and place: post–cold war eastern Europe in the early 1990s, as it picks itself up from the fall of the Berlin Wall and the Iron Curtain. 'There was this hope that [eastern Europe] would become this great liberal democracy,' he says. 'And then, of course, through the '90s we get the rise of the oligarchs, and end up in what is another autocracy and a very specific kind of a leader, led by an elite.' Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion Coriolanus remains one of Shakespeare's least performed plays; this is only the second time Bell Shakespeare has staged it since the company was established in 1990. 'Even though it has the most amazing domestic scenes – and Coriolanus's mother and wife are extraordinary characters – it's certainly more overtly political than many of the others,' Evans says. 'It shows us that while complete conviction can be compelling in a politician, if they are inflexible, then it will eventually lead to an autocratic rule.' Coriolanus may not have the marquee appeal of a Macbeth or Hamlet, but Evans contends that its relevance is perennially urgent. 'A play like this is never not timely. In the last five to 10 years, western democracy has come under question … and certainly, when I was growing up, that would have been unthinkable.' Coriolanus plays in Sydney's Neilson Nutshell until 20 July, then the Arts Centre Melbourne from 24 July to 10 August
News24
4 hours ago
- Entertainment
- News24
Must-see events to light up your June 2025 calendar
It might be quite chilly, but that shouldn't mean your social calendar should take a hit. The final weeks of June bring new experiences, soulful music and art festivals for an enriching experience outside of your comfort zone. Makhanda's National Arts Festival makes its return for its 51st year on 26 June, with thousands of art lovers across the African continent flocking to the Eastern Cape for their yearly multidisciplinary arts festival. For the beauty enthusiasts, L'Oréal South Africa is bringing together hair, skincare and makeup lovers for its Beauty University. READ MORE | Discover the most opulent marquees at Durban July 2025 Explore everything from music to art to get you out of the house this month. Master Harold... and the Boys at the Theatre on the Square A revival of Athol Fugard's critically acclaimed play Master Harold... and the Boys returns to the main stage from 11 to 28 June 2025 at the Theatre on the Square at Sandton City. Set in 1950s apartheid South Africa, Master Harold…and the Boys is a deeply personal, semi-autobiographical story that explores how racism and bigotry seep into the hearts of those who live under its shadow. Starring legendary actor Sello Maake KaNcube, alongside Lebohang Motaung and Daniel Anderson, this powerful revival is a must-see tribute to Athol's enduring legacy. View this post on Instagram A post shared by Theatre On The Square, Sandton (@theatreonthesquare) Gauteng Soul and Jazz Concert Back by popular demand, South Africa's beloved soul musicians will flock to the Sunbet Arena Time Square in Pretoria on 21 June for an unforgettable jazz experience. Attendees can look forward to mesmerising performances by the likes of Judith Sephuma, Mafikizolo, Vusi Nova and more for one night only. View this post on Instagram A post shared by Ticketpro (@ticketproza) National Arts Festival Makhanda's famed National Arts Festival returns for its 51st year for Africa's largest and most colourful cultural fest, offering the best of both indigenous and imported talent. From 26 June to 6 July, thousands are set to flock to the Eastern Cape for a feast of arts, crafts and entertainment, from everything, including plays, cabarets and markets to stand-up comics and jazz tunes. View this post on Instagram A post shared by National Arts Festival (@nationalartsfestival) Haus of Kühl Jägermeister presents Haus of Kühl, a jam-packed experience of art, immersive installations and DJ sets and performances from explosive local musical stars like Uncle Waffles, Dlala Thukzin, Focalistic, Young Stunna and more. This party experience's first stop took place in Johannesburg on 15 June and will be making its way to Durban's Exhibition Centre on 21 June and to Cape Town's Botanik Social House on 28 June. View this post on Instagram A post shared by I BAR PUBLICITY (@ibarpublicity) L'Oréal South Africa's Beauty University 2025 School is in session! L'Oréal South Africa will be hosting the Beauty University on Saturday, 28 June, at the Sandton Convention Centre. It promises an immersive and educational experience for 2000 beauty enthusiasts, offering exclusive access to the latest innovations, expert insights and masterclasses from L'Oréal Paris, Garnier, Maybelline and Dark and Lovely. Win a ticket by buying specific products from any of the four participating brands and send your receipt to the WhatsApp line +27 81 010 0429.
The Guardian
8 hours ago
- Entertainment
- The Guardian
Edinburgh festival 2025: 20 theatre shows to see this summer
Whenever you see a performance in Canada, it will begin with a land acknowledgment; a way of crediting those who were there before the Europeans arrived. Indigenous playwright Cliff Cardinal questions the motives of such declarations in a broadside that uses Shakespeare's pastoral comedy to comment on our attitude to the natural Hill theatre, 20-23 August Jack Holden, the formidable star of Cruise and Kenrex, is the author of this party-themed take on Peter Pan in which songs by Britney Spears, Katy Perry and Justin Timberlake celebrate the millennial generation that refused to grow up. Director Steven Kunis calls it 'a full-blown pop fantasy'.Assembly Checkpoint, 30 July-25 August Leaving its Roundabout pop-up theatre at home, Paines Plough has a lower-than-usual profile at this year's fringe, but is responsible for one of the flagship shows at the Traverse: a story of four generations of Northern Irish women. Directed by Katie Posner, Karis Kelly's dark family drama won the Women's prize for playwriting in theatre, 30 July-24 August From Belgium, actors Anemone Valcke and Verona Verbakel ask where social boundaries should lie for young women growing up after #MeToo. Drawing on their own experiences of sexism and abuse, they raise questions of shame and internalised misogyny in a show about watching and being Playground, 12-24 August William Kentridge returns to his 1995 version of the soul-selling fable and updates it to the age of the climate emergency. Handspring Puppet Company (of War Horse fame) imagines a rapacious Faustus plundering the African continent with colonialist greed, while the world picks up the Lyceum, 20-23 August Song of the Goat have been beguiling fringe audiences for two decades with their otherworldly polyphonic singing inspired by classical archetypes. This time, the Wrocław company gives Shakespeare's tragedy a pagan 3-15 August Afreena Islam-Wright is both a performer and a pub-quiz host, skills she combines in an interactive show about being British and Bangladeshi. Among her claims to fame is an appearance on The theatre, 31 July-24 August The government recently sold its remaining shares in NatWest Group (formerly Royal Bank of Scotland) after nearly 17 years of public ownership, losing £10.5bn in the process. Meanwhile, the bank's old boss, Fred Goodwin, is said to be picking up a £600,000 annual pension. James Graham's play – which stars Brian Cox – asks what went wrong in the city of Adam theatre, 30 July-9 August Trumpeter Jay Phelps, who has played with Amy Winehouse, Courtney Pine and Wynton Marsalis, provides the live soundtrack to Oliver Kaderbhai's play about Miles Davis and the making of Kind of Blue, the 1959 jazz landmark. Benjamin Akintuyosi 31 July-25 August Time was when pop stars felt they had to put up with scurrilous tabloid stories. Not so Elton John. Falsely accused of 'vice boy shame', he sued the Sun for libel. Henry Naylor's play takes up the story that ended with a 'Sorry Elton' headline and a £1m Dome, 30 July-24 August Joining forces again after England & Son and The Political History of Smack and Crack, campaigning actor/comedian Mark Thomas and playwright Ed Edwards look back to the 25-day Strangeways prison riot in 1990 and the liberal experiment that 31 July-25 August Part of the Made in Scotland showcase, Ruxandra Cantir's surreal cabaret is inspired by her upbringing in Moldova, a country where seemingly anything can be pickled. Featuring songs, puppetry and vegetables, it is an absurdist meditation on the preservation of life. Shona Reppe 31 July-25 August What started life as a highly entertaining – and unexpectedly moving – lecture about the Scottish pantomime tradition has morphed into a full-blown show. The great panto dame Johnny McKnight performs in glamorous Dorothy Blawna-Gale costume, celebrating the humour and radical spirit of the form. John Tiffany theatre, 1-24 August Smartphones at the ready as Mallorca's female-led La Mecànica creates a teen-friendly interactive event using the Kalliópê app developed by Barcelona's La Fura dels Baus. The show, about identity, technology and relationships, is observed through the audience's mobiles, which interact with the performers and 31 July-25 August The inspirational Ontroerend Goed has a record of surprising and unsettling work that redefines what theatre can be. It can, of course, be nothing without an audience and in this piece, the Belgian company uses video to celebrate the fact that nobody has the same experience of a live event. They call it interactive theatre for people who don't like interactive Southside, 12-24 August Actor Armando Babaioff relocates Michel Marc Bouchard's play from Canada to his native Brazil, where the story of a young man who leaves the city to attend his boyfriend's rural funeral has a special poignancy. Brazil, says Babaioff, 'leads the world in the killing of LGBTQ+ people'.Pleasance at EICC, 30 July-24 August This four-day celebration of Palestinian culture includes a lecture-performance by Noor Abuarafeh recounting a journey through the West Bank; a wordless object-theatre show by Mahmoud Alhourani about the devastation of war; and a play by Randa Jarrar following a woman who wakes up in 2055, the last person town hall, 12-15 August Novelist turned performer Alan Bissett imagines a conversation between two cultural icons: comedian Billy Connolly and the late author Alasdair Gray. The scene is the launch of Gray's modern classic Lanark in 1981, which Connolly is known to have attended. Bissett speculates on what the two Glaswegians said Storytelling Centre, 31 July-23 August Having extended her range to theatre with 2016's excellent Wind Resistance, folk singer Karine Polwart returns to the stage with a poetic and musical meditation inspired by the sabal palm in the glasshouse of Edinburgh's Royal Botanic Garden. The 200-year-old tree was chopped down in 2021 to make way for Queen's Hall, 9-13 August A wordless piece by Antwerp theatre collective FC Bergman exploring the passage of the seasons and our dependency on the land. Inspired by an ancient letter about the art of agriculture by the Greek poet Hesiod, it is a visual commentary on the power of collective labour and the threat of Lyceum, 7-10 August
The Guardian
10 hours ago
- Entertainment
- The Guardian
Bring the House Down by Charlotte Runcie review – the joy of the hatchet job
When Jesus is pressed to condemn the woman taken in adultery, he says, 'He that is without sin among you, let him first cast a stone at her.' No one does, and a lesson in critical generosity is learned. Judge not, that ye be not judged. Is giving an artist a one-star review an act of abuse – casting the first stone? Is it worse when the reviewer is male and the artist female? That's the starting point of this entertaining and very timely debut novel from Charlotte Runcie, an arts journalist who, as a young intern, was lambasted on stage by a successful standup to whom she'd given a bad review. Alex Lyons, chief theatre critic for a national newspaper, is known for his hatchet jobs. It's the Edinburgh fringe, and he's sitting through a one-woman standup show. 'The solo performance artist, Hayley Sinclair, had a lot to say about the climate emergency, the patriarchy, and the looming end of the world, which was fair enough, but unfortunately her show was so terrible that, by half an hour in, Alex had decided that he actually wanted the world to end as soon as possible.' Instead, immediately after bashing out his one-star review, he goes to a bar, encounters an emotionally exhausted post-show Hayley, and invites her back to the flat he is sharing with another journalist, Sophie Ridgen. It is only the next morning that Hayley, after spending the night with Alex, reads the eviscerating, career-ending words he has written about her: 'a dull, hectoring frump, like one of those 1950s cartoons of housewives beating their husbands with a rolling pin'. Alex blithely walks in from his morning shower to find Hayley with his brickbat in her hands. It is a delightfully excruciating scene, setting in motion one of the most enjoyable novels I've read in a long time. Although as a male reviewer of a female artist, for a national newspaper, who by chance read much of the book on the train south from Edinburgh, I experienced moments of very meta-terror and mischief. Wouldn't the most fun review to write, but even more to read, be an absolute slating? Wasn't I, too, being tempted to cast the first stone? Luckily, Runcie's verbal wit, narrative chops and emotional subtlety rendered that impossible. Alongside a fringe festival retelling of the history of the #MeToo movement, we also get a will-they-won't-they plot and an inside account of so-Alex-has-been-publicly-shamed. Because, in reaction to her awful one-star review, and the one-night stand, Hayley transforms her one-woman show into 'The Alex Lyons Experience' – a one-star review of Alex's entire life and an immediate star-making media sensation. She retells the story of her encounter with Alex, then opens the stage for other women to share the appalling things Alex or other Alex-like men have done to them. And as clips from the show go viral, resonating far beyond a small function room below a pub and bringing forth similar stories from thousands of women, it starts to seem as though most men – all men? – are deserving of similar humiliation. And if not that, then a good digital stoning. As the Black Mirror episode Nosedive foretold, these days we are all but forced to participate in a culture of constantly rating one another. Midway through the novel, Sophie finds herself getting self-hatingly drunk at a festival party. There was an interactive customer feedback device propped up on the bar. Tell us what you think of our service, it said, and underneath there were two buttons you could press: an angry red face or a smiling green one. Excellent or worthless, nothing in between. Review your experience, share your thoughts, recommend us to your friends, swipe left, swipe right, leave a comment, have an opinion. Everyone's a critic. But shouldn't we be more forgiving? Like Jesus. When he was born, his father only gave him one star. Toby Litt is Head of Creative Writing at the University of Southampton. Bring the House Down by Charlotte Runcie is published by Borough (£16.99). To support the Guardian order your copy at Delivery charges may apply.
