This Lear is not huge in any way. Heavily trimmed, it remains focused on core themes. To those who know the work, it is honest if a little over-simplified.
Using a science-fiction premise, this “grey comedy” takes place on an isolated archive facility far removed from Earth, in the equally distant year 16022.
Benedict Andrews’ high energy production, for Company B Belvoir, makes this brilliant theatre classic, about a couple struggling to find meaning in their empty lives, feel like a brand new contemporary play.
True Stories is held together by a potent sense of energy, emotion and spirit which is communicated in not only the stories being told but in the fiercely passionate performances of the ensemble group.
With every new production, Legs on the Wall reinvents itself. Every work in its repertoire is distinctly different and original, consistently exploring the physical theatre form
A gifted embroider of words, Friel combines soft lyricism and hard meaning in his play, a tragical comical historical pastoral on a spree and spoiling for a spirited spar.
In the care of Pinchgut Opera’s director, Erin Helyard, this music, formulaic as it indeed is in some respects, sprang off the page into an experience rich in emotions.
Iolanthe and Janet Anderson work in cosmic, comedic accord, characterisation charismatic, timing impeccable, delivery precise, together a tour de force that ascends the cliché.
Blind faith and rational belief are always sparring partners in dramatic conflict and so it is here with the power play tinged with superstition and salaciousness.