Bristol
mark.kidel
Intimacy is a mixed blessing: Richard Twyman’s close-up exploration of sex and violence in his production of Othello for Bristol’s Shakespeare at the Tobacco Factory takes the audience on a gripping emotional journey, but one that is at times almost beyond close for comfort.This is theatre in the round with a vengeance: the low-ceilinged space, with the audience seated within feet of the stage, in a 360-degree embrace, leaves no room for escape. Twyman has accentuated the sense of claustrophobia – because yes, intimacy can feel stifling – with a mixture of one-directional vertical top Read more ...
Boyd Tonkin
In one of Tessa Hadley’s piercingly smart and subtle tales, a woman whose upwardly-mobile path has taken her from Leeds to Philadelphia works for a firm that manufactures instruments to test the “tensile strength” of materials. You can treat the Hadley short story as that sort of device in itself. Precision engineered and finely calibrated, it stress-tests not only marriages and affairs but memories, desires, even identities, with episodes of crisis and discovery that reveal each fault-line or fracture. The reader marvels at the almost scary exactitude – but relishes the steel-edged finesse. Read more ...
mark.kidel
Andrew Hilton’s new production of All’s Well That Ends Well makes the most of the complexities of a "problem play", neither comedy nor tragedy, and navigates this startling mix of emotional depth and light farce with great deftness. This is Shakespeare as master trickster, playing with narrative genres, the tricks of his characters matching the sleight of hand and suspension of disbelief displayed in a story that combines the simple manicheism and magic of fairy tale with the realities of gender politics, reflections on the inconstancy of human nature and the inifinite and sometimes Read more ...
mark.kidel
Lesley Manville’s performance as Mary, the tortured morphine addict, wife and mother in Eugene O’Neill’s dark masterpiece Long Day’s Journey Into Night, directed by Richard Eyre, is breathtaking, from the moment she first steps on stage until her last sombre soliloquy. The role of a woman prone to hysteria and self-deception invites over-acting, not least when the author has given her torrents of dope-driven lines, as well as placed her in desperately solipsistic isolation. But Manville manages to play the excess of a woman who is hanging onto life through a kind of pretense, without falling Read more ...
mark.kidel
Alan Mahon’s Hamlet in Andrew Hilton’s production for Shakespeare at the Tobacco Factory bristles with teen spirit and this is no bad thing. The Prince of Denmark, even before his father dies, is beset with the angst that goes with the territory of late adolescence. The production presents, on one level, a tragic coming of age drama, one in which the young heroes are consumed by madness and caught in the political and sexual machinations of their elders.This is production that builds, from a slightly underpowered first half to an emotionally overwhelming dénouement. During the first Read more ...
mark.kidel
Mark Bruce did very well with his last dance theatre production Dracula, but this time around he has reached a little too far. The Odyssey is a great text, but with the twists and turns of Ulysses’ return to Ithaca, burdened with the karmic debt of multiple crimes against the gods committed during the Trojan War, Homer’s epic is an unwieldy beast: it’s at times as if Bruce had himself succumbed to the avalanche of challenges the tired and traumatised warrior has to face on his way home.The magnificent Victorian Gothic church of St Paul's in Bristol, home to the contemporary circus school Read more ...
mark.kidel
Tricky navigates a kind of penumbra, a fertile and ever-renewing source of inspiration in which his mixed-race, gender-fluid self can re-invent itself periodically, while staying true to his roots and his unique self-taught take on the world of electronics and beats.His latest album maintains the high standards he has established over the last few years. The restlessness that’s taken him to New York to Paris, back to London and now to Berlin, is reflected in the sombre edginess of the music, and in his willingness to experiment with collaborations, inspired by the creative presence of others Read more ...
mark.kidel
Christmas pantomime is all about letting go, and being carried away on a wave of communal jollity. The genre also delights in carnivalesque gender-bending, the anarchic undermining of authority and the playful representation of evil. There is always a danger when a tradition that thrives on predictable tropes is re-invented, but Sally Cookson, after her very successful productions of Peter Pan and Treasure Island, has once again made something immensely original and new, while paying homage to this particularly British seasonal entertainment.In post-feminist times, it makes a lot of sense to Read more ...
mark.kidel
Tom Morris has a strong feel for drama that explores the personal implications of fanaticism: his production of John Adams’s powerful opera The Death of Klinghoffer for New York's Met and the ENO, used a language of great simplicity that allowed the work’s most disturbing complexities to come through with formidable power. Once again with Arthur Miller’s The Crucible, an equally rich text, there is a stripped-down quality to his overall vision, supported by a generally superlative cast and finely tuned pacing. This works wonders with a play that explores the dark ways in which human frailties Read more ...
mark.kidel
Brian Friel’s Living Quarters ranks with his best plays but isn’t well known. This powerful story of family dysfunction was first performed in the UK in 1991, directed by Andrew Hilton for Bristol’s legendary pub theatre company Show of Strength and was then not seen on the English stage until now – once again with the Bristol director at the helm.Hilton’s conviction in the text’s undoubted quality has paid off: this is theatre in which Ireland’s greatest living playwright brilliantly plays with narrative form in a way that blends the experimentation of Pirandello and the hot-house family Read more ...
Helen K Parker
An air of busy calm greets me as I walk onto the top floor of Bristol’s Cameron Balloon factory. Considering this company is the largest manufacturer of hot air balloons in the world, my novice expectations of behemoth machinery raging back and forth in huge production lines are somewhat undone by the sight of six women sitting at industrial sewing machines, dotted around the farthest edges of the vast room, quietly stitching. No cacophony of machinery, just the steady thrumming of needle through fabric, bobbins spinning, the occasional tut as unwieldy material is hefted further in from the Read more ...
Thomas H. Green
“Julio Bashmore” is actually the nom-de-dancefloor of Bristolian DJ-producer Matt Walker who’s been slowly building a rep over the last five years. Outside clubland, music-lovers may have heard of him via his production on Jessie Ware’s early singles. In the nightworld, he’s better known as the purveyor of classy, propulsive house sprinkled with a smidgeon of grit. His debut album combines both these aptitudes to increasingly enjoyable effect as it progresses.It opens with the title track, which samples early Eighties easy listening R&B-disco queens The Jones Girls and, for a few songs, Read more ...