Marina Funcasta reviews Simon McBurney's performance of Basil Bunting's "Briggflatts," likening it to T.S. Eliot's work. While the production captivates with its modernist themes and engages the audience, it sometimes struggles with pace and deeper exploration of Bunting's darker biographical aspects. Ultimately, the experience highlights Bunting's connection to his audience.
"Stories for Boys," directed by Hope Wishart and written by Kieron Barry, captivates with its unpredictable narrative and surreal elements. The play explores love and mortality through whimsical characters, Asso and Basso, amidst absurd skits by a chorus. Its unique design enhances its dreamlike quality, blending comedy and tragedy seamlessly.
The World Class Wrecking Crew, directed by Iris Supple-Still and written by Barney Herrin, explores the complex relationship between an absent father and his daughter against the backdrop of graffiti, addiction, and gentrification in London. Despite some pacing issues, the production effectively balances comedy and tragedy, resonating deeply with the community it represents.
Truth & Treason, directed by Matt Whitaker, explores the story of Helmuth Hubener, a teenager resisting the Nazi regime. The film emphasizes the power of language and the moral complexities faced by its characters. While impactful and politically relevant, the storytelling sometimes sacrifices intimacy, distancing the audience from the protagonist's journey.
Written by Stawomir Mrozek Review by Marina Funcasta Golden Goose Theatre ★★★★ Charlie and Striptease are put in conversation in this Absurdist double-bill which takes it shape in the back room of the Golden Goose Theatre in Clapham. A grey, run-down building, the pub itself retains a raw dinginess which Slawomir Mrozek’s pieces, especially Striptease, … Continue reading Review: Charlie and Striptease – Golden Goose Theatre, London
Written by Mark Burgess Directed by Selina Cadell Review by Marina Funcasta Park Theatre ★★★★★ I must admit, sitting down in my seat a few minutes before Zeb Soanes’ performance began, I began to realise just how out of my depth I was. Surrounded by familiar (celebrity) faces, and pompous critics, every conversation in my … Continue reading Review: Two Halves of Guinness – Park Theatre, London
Written by Hannah Caplan Review by Marina Funcasta ★★★★ It is always a revealing experience to watch transfers of Fringe shows. Witnessing a script adapt to its new space and audience can call attention to the several factors which influence a theatrical performance - and how little control the actors, directors, and playwrights truly have … Continue reading Review: THIS IS NOT ABOUT ME. – Soho Theatre, London
Written by Neil LaBute Directed by James Haddrell Review by Marina Funcasta The King's Head Theatre ★★★★ While entering the King’s Head Theatre, I wonder whether I am alone in sensing an immediate paradox upon hearing the words ‘America’ and ‘beauty’ in the same sentence. I blame Sam Mendes’ 1999 film. But the more I … Continue reading Review: America The Beautiful: Chapter 1 – The King’s Head Theatre, London
Written and Performed by She Goat (Shamira Turner and Eugénie Pastor). Review by Marina Funcasta Soho Theatre ★★★ She Goat’s new production, Iron Fantasy, is a didactic mosaic of female strength. Shamira Turner and Eugenie Pastor carve out a world of 90s fantasy warriors and French personal trainers, displaying the several attempts they made in … Continue reading Review: Iron Fantasy – Soho Theatre, London
Written by Gary Wilmot Directed by Sydney Stevenson Review by Marina Funcasta The Gatehouse ★★★ When writing a play about the act of waiting, boredom is almost an inevitable attribute. To wait is to test endurance; it demands a level of patience. This doesn’t have to be a limitation. Beckett sought its fertility; as did … Continue reading Review: While They Were Waiting – Upstairs at the Gatehouse, London
