Edition #5 of the Royal Court’s Living Newspaper takes a more reflective approach to great effect
“Most people do it. Not me, I have a conscience”
The Royal Court’s Living Newspaper continues with edition #5 which feels a little less reactive to the headlines and a little more reflective on the state of the world as we find it today. It looks back, probing into how our history has shaped us but it also identifies the precipice of the current moment and how, more than ever, so very much is at stake.
The quiet fury of Dalia Taha’s A Warning takes aim at Israeli border policies through the medium of books, Kayla Meikle’s devastatingly contained performance a real stand out. And Zia Ahmed’s elegiac scene/unscene finds a brutal poetry in its takedown of the systemic racism in the theatrical establishment, skewering good liberal intentions perfectly. Continue reading “Review: Royal Court’s Living Newspaper #5”
Written by Zia Ahmed, Leo Butler, Guillermo Calderón, Nick Cassenbaum, E.V. Crowe, Maud Dromgoole, Nessah Muthy, Iman Qureshi, Marcelo Dos Santos, Nina Segal, Dalia Taha, Joel Tan and Maya Zbib.
Who has created our country’s past and who is shaping its future? Who gets to have their cake and eat it?
Edition 5 sets out to dismantle histories – be that personal or political – whilst finding allies in bookshop glances, questioning who is desperate for hygge comfort and looking to our comrades and weather reporters for the true future.
As we look back and forward, Edition 5 is a provocation to find joy in the cracks and the spaces left behind. Continue reading “News: writers and cast for Living Newspaper #5”
Site-specific theatre done right – High Hearted’s The End of History sits us in the beautiful surroundings of St Giles-in-the-Fields and really makes us think
“Why are we here?”
Marcelo dos Santos’ The End of History is not just performed in the church of St Giles-in-the-Fields but it is set there too, a quiet spot of calm in among the bustling Soho streets. And as Crossrail forces yet another upheaval of the immediate surrounding area, dos Santos and director Gemma Kerr ask us to locate this development in the wider scheme of things, in a history of constant evolution and ponder what might be lost in the process.
This they do by colliding two individuals – charity worker Wendy and Paul, seeking to make his mark in the world of property. They’re both having a shocker of a day – she’s coming out of a long-term relationship and searching for somewhere to live, he’s waiting on some test results and the battery on his phone is going down fast because he can’t quite keep off Grindr. Or Scruff. Or Hornet. Continue reading “Review: The End of History, St Giles-in-the-Fields”