Review: Albion, Almeida Theatre
A timely return for Mike Bartlett’s incisive, stirring Brexit play which examines faultlines of class and town versus country through one woman’s nostalgia for a garden
A timely return for Mike Bartlett’s incisive, stirring Brexit play which examines faultlines of class and town versus country through one woman’s nostalgia for a garden
A timely return for Mike Bartlett’s incisive, stirring Brexit play which examines faultlines of class and town versus country through one woman’s nostalgia for a garden
The Street is a film that speaks of decimated communities and the price we pay for rapid gentrification. Ahead of its release this Friday, Greg Wetherall speaks to director Zed Nelson.
The Street is a film that speaks of decimated communities and the price we pay for rapid gentrification. Ahead of its release this Friday, Greg Wetherall speaks to director Zed Nelson.
When the titular Vassa, matriarch of the squabbling family in Mike Bartlett’s adaptation of Maxim Gorky’s Vassa Zheleznova, screams ‘Enough!’ during a blazing exchange in Act Three, it is a declaration shared by the audience.
A production that tickles the senses and stokes the fire of curiosity with a well-paced, well-structured story.
Whether the drill rap scene likes it or not, for those outside of its primary audience the view persists that it is a genre dogged by ignominious repute.
If you are sensitive to a profane tongue, you might want to skip past the expletive-licious charms of Skin in the Game. Or at least cover your ears a bit.
A brilliantly acted Shane Meadows-esque story of two runaways misses brilliance but its blunt realism yields some eye-catching moments
A brilliantly acted Shane Meadows-esque story of two runaways misses brilliance but its blunt realism yields some eye-catching moments
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