DON PEDRO Your silence most offends me, and to be merry best becomes you; for, out of question, you were born in a merry hour. BEATRICE No, sure, my lord, my mother cried; but then there was a star danced, and under that was I born. Much Ado About Nothing, II.i
Repost: with One Stop Arts closing, I migrated this review here. In which two middle-aged men take a knowing glance at the changing nature of their friendship, the thing that is theatre, and the myriad shades of meaning that can be ascribed to the word “mate”. Tim Crouch and Andy Smith provide a thoughtful opening to … Continue reading
Repost: with One Stop Arts closing, I migrated this review here. In which two middle-aged men take a knowing glance at the changing nature of their friendship, the thing that is theatre, and the myriad shades of meaning that can be ascribed to the word “mate”. Tim Crouch and Andy Smith provide a thoughtful opening to … Continue reading
Repost: with One Stop Arts closing, I migrated this review here. Watching the Fitzrovia Radio ensemble pad around on slippered feet at the Horse Hospital creating sound-pictures would make anyone want to be a foley artist. The dulcet sultry tones of Natalie Ball display admirable dexterity. Dan Starkey’s Dutch grammar-disordered Abraham van Helsing in “Bram Stoker’s … Continue reading
Repost: with One Stop Arts closing, I migrated this review here. Watching the Fitzrovia Radio ensemble pad around on slippered feet at the Horse Hospital creating sound-pictures would make anyone want to be a foley artist. The dulcet sultry tones of Natalie Ball display admirable dexterity. Dan Starkey’s Dutch grammar-disordered Abraham van Helsing in “Bram Stoker’s … Continue reading
Repost: with One Stop Arts closing, I migrated this review here. In the green wilds of Abney Park Cemetery, Kelly Eva-May endowed Viola with an elegiac tenderness for Orsino, keenly expressing a desire felt all the more deeply for its denial. Alex Southern’s Orsino had a languid sensuality highlighting the capriciousness of his character’s disbelief that … Continue reading
Repost: with One Stop Arts closing, I migrated this review here. In the green wilds of Abney Park Cemetery, Kelly Eva-May endowed Viola with an elegiac tenderness for Orsino, keenly expressing a desire felt all the more deeply for its denial. Alex Southern’s Orsino had a languid sensuality highlighting the capriciousness of his character’s disbelief that … Continue reading
It was a privilege to attend the closing night of Connections at the National Theatre on Monday. The first performance, “What are they Like?,” was a sweetly evocative look at the relationships between parents and children, with young actors dressed as parents recounting advice and stories about their parenting techniques. It was in turns funny, moving, frightening and touching … Continue reading
In addition to the very exciting news that my second book, Belly Dance Around the World, has now been published, I’ve also embarked on another creative outlet in the last couple of weeks: I am now reviewing theatre in London for One Stop Arts! You can check out my profile here and my first review, … Continue reading
I am so pleased and proud to announce that the volume I have been co-editing, Belly Dance Around the World: New Communities, Performance and Identity, has just been published by McFarland press! My parents forwarded this photo of my author copies–they arrived at their house in the US a few days ago, along with a … Continue reading
Last time I went to Brasserie Zedel’s Crazy Coqs, I was there for Fitzrovia Radio Hour. This time, I was rounding off my day at RegentTweet with Jean Brassard’s homage to Yves Montand, “The Kid from Paris”. I’ve already described how Brasserie Zedel leaves me longing for the trappings of sophistication and elegance. While I … Continue reading
In a Merry Hour: Caitlin E McDonald 