I went to see Brad Birch’s new play Tremor at the Sherman Theatre as a reviewer for Miro magazine. You can read my more traditional review here. For new work however, I like to spend time unpacking the play, and in particular the writing a little more. So here is my not-review of Tremor. Fair warning ‘spoilers’ ahead, perhaps … Continue reading Tremor, Sherman Theatre (Review)
Brad Brich's Tremor distils some of the biggest questions about the world we live in through a single event and relationship. The Tremor of Brad Birch’s title is anything that ripples and rips through our lives, from the personal relationship of the two characters to the aftermath of the shared event that ripped them apart. For Tom (Paul … Continue reading Tremor- Sherman Theatre
Being dropped into a series of Manhattan apartments circa 2010 for a fast-paced comedy might now feel like a dated sitcom. And while there are elements of Stephen Adly Guirgis' play that perhaps would not be written in the same way today, much of it still feels fresh and relevant. More at Miro Magazine
After seeing the 'immersive' Julius Caesar at The Bridge theatre, I was inclined to reflect on the evangelical attitudes of some towards immersive work and the 'correct' way to experience theatre. In one of several tweets about Julius Caesar at The Bridge theatre- all of which were positive, none of which were an in-depth review, … Continue reading To Mob or Not to Mob?
The prologue to the performance of Unexploded Ordnances is a ‘salute to history’ from Lois Weaver. It replaces the acknowledgement to indigenous peoples typically used in America and Canada – in Europe, they take a moment to acknowledge the history of the venue they are in. It is fitting also then to acknowledge the history, and resonance across the … Continue reading Review: Unexploded Ordnances, a salute to history