Theatre | Review
Gareth K Vile: Neanderthal takes some time to settle. As an attempt to evoke the aural landscape of the paleolithic people, it spends too long evolving idle chatter...
Gareth K Vile: In an early plea for a vigorous multiculturalism, theatre critic Kenneth Tynan claimed that an influx of different cultures would energise the...
Gareth K Vile: Soup’s not a bad lunchtime treat, and the text sets up enough themes for a major work. It even adds an interesting reflection on God’s two...
Gareth K Vile: Given her almost nihilistic approach to both life and art, it is unsurprising that La Ribot’s death, as represented by Via Negativa, is a naked ...
Gareth K Vile: Speaking as a bohemian – all extreme passion and suffering for my art – I am ambivalent about the popularity of an opera based on counter-...
Gareth K Vile: My first feeling after seeing Fleur Elise Noble was frustration: despite using the depth of the CCA space to create a three dimensional screen for her...
Theatre | Art | Review
Ben Robinson: If any members of the DCA crowd were excitedly looking forward to another year’s feast of experimental music from the justly renowned Kill Your ...
Gareth K Vile: I was recently reminded by my publisher that The Skinny is an “entertainment and listings magazine”. I was in the process of defending an...
Susannah Radford: Promises Promises is a thoughtful and thought provoking piece of theatre that challenges with issues of culture, religion and sexuality, deftly balanc...
Gareth K Vile: My fondness for more extreme performance – dance without choreography, theatre without a script – inevitably leads me to questions about &...
Gareth K Vile: I did not realise quite how alienated I am. I am standing in the middle of an anarchic, immersive Allotment. It’s the kind of theatre I dream ab...
Michael Cox: Iain Softley’s Backbeat is an odd production because it manages to romanticise an era while trying to tell the ‘real’ story behind o...
Gareth K Vile: Clutter Keeps Company has a brilliant lighting design. All nuance and subtle movement, it brings the simple set to life as a pop-up book, clear and co...
Gareth K Vile: Watching What We Know, I am fascinated by the central scene, where the grieving Lucy is confronted by a baleful youth who demands food and dispenses g...
Eva Millar: Colin Richmond's beautiful and purposeful set grants the cast a perfect platform for Alan Ayckbourn's Absent Friends. This light comedy from 1974 safe...
