ELOISE DAVIES talks to director Matilda Wnek about her hip, drug-guzzling modern adaptation of the Bard’s classic love story.
With its peaks and troughs, this smoker relied too heavily on already established Footlights, claims TOMMY SHANE.
ELEANOR OGILVIE reviews A New Sketch Show and is made to face a difficult question: can interpretive dance save the world?
On Sunday night, five groups of Cambridge students were given the task of coming up with a play they’d perform 24 hours later at the ADC. ABI BENNETT explains the results – ‘chaotic’, ‘shambolic’, and occasionally ‘fantastic’.
“It reminded me fundamentally why we’re all here…” ABI BENNETT is charmed by an evening of Frank O’Hara.
TOMMY SHANE regrets that the writing wasn’t as good as the acting in this sketch show.
KIERAN CORCORAN doesn’t say ‘mixed bag’, because that’s not really what it was.
MATILDA WNEK manages to keep her evening afloat, but is hardly swept away by an event titanic in name only.
MATILDA WNEK gets happy about a play that is as well performed as it is crafted.
Theatre Editor KIERAN CORCORAN meets funny feminists, and reacts with the appropriate joy. It was even for a good cause.
MATILDA WNEK finds a story of woe – but an inconsistent one – in an ADC production that hasn’t the vision to take its text all the way.
In the second thrust of her Week 8 double-whammy, MATILDA WNEK glories in a whole hour of just Abi Tedder and a fistful of lolz.
MATILDA WNEK is frustrated by the storytelling strategy of a production that is less than the sum of its parts.
MATILDA WNEK takes childish yet well-articulated delight in devised theatre from beyond the Iron Curtain.
MATILDA WNEK sees good new writing in the English Faculty Basement. A surprised choir of angels would have descended were they not put off by some iffy direction and performances.
According to MATILDA WNEK, this play comes closer to five stars than anything else she’s seen in Cambridge.
MATILDA WNEK: ‘Student theatre’ is dogged with associations of pretension, vacuity, talentless posing and dull or overambitious interpretations of classic texts, much more fiercely than unprofessional versions of other art forms.
“They’ve got a legitimate reason to not do work; they’ve got the moral high ground; they’ve even got bloody Scottish dancing.” MATILDA WNEK wonders why you were not at the occupation.