The third edition of Royal Court’s Living Newspaper moves online only, with some seriously fierce political writing this time around
“You want me stuffing my face in Pret A Manger so your city can feel real again”
The flexible and modular nature of the Royal Court’s Living Newspaper series means that it is sufficiently adaptable to cope with ever-changing lockdown restrictions. Previous editions had the option of being consumed either digitally or in-person at Sloane Square but this third edition is online only. #3
As a multi-authored, rapid-response foray into theatre-making, structured loosely around the section of a newspaper, it possesses an up-to-the-minute urgency that is rarely captured seen onstage. Pithy soundbites from Boris Johnson are torn apart (in the corking Crocus of Hope that forms the first page), the hollowness of Emily in Paris is exposed, and there’s variety in the vitriol too. Continue reading “Review: Royal Court’s Living Newspaper #3”
Living Newspaper #3 is written by Travis Alabanza, Gurpreet Kaur Bhatti, Nick Bruckman, Anupama Chandrasekhar, Zain Dada, Josh Elliott, Rabiah Hussain, Sami Ibrahim, Karen Laws, Eve Leigh, Chloë Moss, Anthony Neilson, Margaret Perry, and Rebecca Prichard.
The whole edition, which includes 15 filmed performances ranging from 2 – 15 minutes, is available to watch on the Living Newspaper Player until Sunday 11 April; so – much like an online paper – you can catch up on the news and supplements when it best suits you. Continue reading “News: writers and cast for Living Newspaper #3”
“We all make – sacrifices”
And still the Greeks come. The Gate Theatre have taken Euripides’ Iphigenia at Aulis and asked four playwrights to react to it with short plays from varying viewpoints, giving us The Iphigenia Quartet. Split into two double bills, we thus get Caroline Bird’s Agamemnon and Lulu Raczka’s Clytemnestra, and Suhayla El-Bushra’s Iphigenia and Chris Thorpe’s Chorus, two strong pairings that crack open the Greek tragedy and offer a kaleidoscope of responses.
Such is the enduring resilience of the original that it can take diverse treatments – to wit, the trio of Oresteias that graced British stages last year – and packed into this studio intimacy and seen on the same day (as I saw them) or not, the impact is visceral and considerable. From the raw anguish of Bird’s duelling parents to Raczka’s academic debate spun on its head, from El-Bushra’s family of Marines to Thorpe’s babbling chorus of commenters, the shifting focus is at once enigmatic and entertaining. Continue reading “Review: The Iphigenia Quartet, Gate Theatre”