An anti-war polemic in verse? Square Rounds has no right to be as good as it is at the Finborough Theatre!
“When I pioneered the process I had in mind
Only benefits and blessings for mankind”
You spend so much effort and labour and time
When trying to make all your words somehow rhyme
So how you would write a whole play that does so
Is downright impressive, that’s something you know
Espec’lly since Square Rounds is not so dramatic
But more of an anti-war talk, so dogmatic
Though new life is brought by a d’rector called Jimmy
Whose insight and forethought makes ev’rything shimmy
It’s unlike most other things you can now see
And its all-female cast will just fill you with glee
But Finborough and Haddock are hard words to rhyme
So I think this format has now done its time Continue reading “Review: Square Rounds, Finborough Theatre”
Who knew that fascists could rhyme? WH Auden and Christopher Isherwood tackle inter-war Europe in The Dog Beneath The Skin at the Jermyn Street Theatre in London.
“Places sometimes look different when one comes back to them”
Proud Haddock’s production of Mrs Orwell was quite the success last year, earning a deserved transfer from the Old Red Lion to the Southwark Playhouse. And they continue their ethos of celebrating “unearthed stories from classical playwrights” with this revival of WH Auden and Christopher Isherwood’s 1935 play The Dog Beneath The Skin which rounds off the Jermyn Street Theatre’s Scandal season.
Mixing an almost fairytale-like quest with a stark warning to guard for the rise of fascism, it’s a fascinatingly drawn play. And Jimmy Walters’ production leans heavily into its curiosity with voiceover segments, drag cabarets and multiple songs (by Jeremy Warmsley) accompanying the lyrical twist of the rhyming couplets threaded throughout the script. With cleverly expressive movement work from Ste Clough, all this strangeness has a compelling quality to it. Continue reading “Review: The Dog Beneath The Skin, Jermyn Street Theatre”