Tag: reviews

The last thing you learned OUGHT always to be to distrust the learning that refuses to be open to change. Some thoughts about Kirill Serebrennikov’s film ‘The Student’.

March 1, 2026

The last thing you learned OUGHT always to be to distrust the learning that refuses to be open to change. Some thoughts about Kirill Serebrennikov’s film The Student. What if you discovered that every truth you will; ever need, sufficient to contest any other truth, except its own contradictions from the same source, was in … More The last thing you learned OUGHT always to be to distrust the learning that refuses to be open to change. Some thoughts about Kirill Serebrennikov’s film ‘The Student’.

A week of Hamlets: [1] To start, there is a tendency to see Shakespeare’s character Hamlet as a part nightmare dream version of one’s autobiography. Riz Ahmed has won the prize for the finest version of such projects.

February 10, 2026

A week of Hamlets: [1] To start, there is a tendency to see Shakespeare’s character Hamlet as a part nightmare dream version of one’s autobiography. Riz Ahmed has won the prize for the finest version of such projects. For a long time, literary critics have insisted that to see elements of the biographical in the … More A week of Hamlets: [1] To start, there is a tendency to see Shakespeare’s character Hamlet as a part nightmare dream version of one’s autobiography. Riz Ahmed has won the prize for the finest version of such projects.

‘The History of Sound’: the silenced noise of the non-performative queer story.

January 25, 2026

I saw the new Oliver Hermanus film today, The History of Sound, with Geoff and dear friend Catherine. Before going I had made the terrible mistake of seeing some of the reviews of the film, all it seems by people hardly equipped to speak of film as art, for this is precisely what this film … More ‘The History of Sound’: the silenced noise of the non-performative queer story.

‘without transformation / Men become wolves on any slight occasion’. This blog takes as its starting point, Jacob Kerr (2025) ‘The Wolf of Whindale’, London, Serpent’s Tail.

January 15, 2026

‘without transformation / Men become wolves on any slight occasion’. This blog takes as its starting point, Jacob Kerr (2025) The Wolf of Whindale, London. Is it conceivable that, asked to choose an animal you like, you would choose one you consider yourself to be like. There is no certain link or even line of … More ‘without transformation / Men become wolves on any slight occasion’. This blog takes as its starting point, Jacob Kerr (2025) ‘The Wolf of Whindale’, London, Serpent’s Tail.

Uninventing the myth of Shakespeare: seeing the film of Maggie O’Farrell’s ‘Hamnet’.

January 9, 2026

Uninventing the myth of Shakespeare: seeing the film of Maggie O’Farrell’s Hamnet. There is a real issue of ontology involved in this question – for it raises the question not only of what to choose but what, being ‘uninvented’ that something might be, if indeed it could be anything at all, for to uninvent ‘it’ … More Uninventing the myth of Shakespeare: seeing the film of Maggie O’Farrell’s ‘Hamnet’.

That place is in the eyes and is the creation of the cognitive-affective machinery we all possess. It can even be simulated as if we were there in a fine performance, consciously enacted.

December 2, 2025

That place is in the eyes and is the creation of the cognitive-affective machinery we all possess. It can even be simulated as if we were there in a fine performance, consciously enacted. We saw a fine multi-award winning film last night: Since The Last Time We Met, by Matìas de Leis Correa, a brilliant … More That place is in the eyes and is the creation of the cognitive-affective machinery we all possess. It can even be simulated as if we were there in a fine performance, consciously enacted.

Seeing the Gary Clarke Company embody the way that history in which my husband and me were involved flashes before our eyes – intense pleasure, pain and the value of contemplating past darkness in times moving apace to times of potentially greater darkness.

September 17, 2025

Seeing the Gary Clarke Company embody the way that history in which my husband and me were involved flashes before our eyes – intense pleasure, pain and the value of contemplating past darkness in times moving apace to times of potentially greater darkness. The publicity told us that ‘Detention is a powerful new dance theatre … More Seeing the Gary Clarke Company embody the way that history in which my husband and me were involved flashes before our eyes – intense pleasure, pain and the value of contemplating past darkness in times moving apace to times of potentially greater darkness.

This is a blog in which I prepare to see Lila Raicek’s ‘My Master Builder’ on Tuesday 8th July at Wyndham’s Theatre, London.

July 2, 2025

How should we view the fall of a great man in a post-patriarchal age? A blog on preparing to see Lila Raicek’s ‘My Master Builder‘ on Tuesday 8th July at Wyndham’s Theatre, London. I consider some ways in which her play re-sees what Raicek calls Henrik Ibsen’s ‘autobiographical play’, ‘The Master Builder’ [‘Bigmester Solness’]. My … More This is a blog in which I prepare to see Lila Raicek’s ‘My Master Builder’ on Tuesday 8th July at Wyndham’s Theatre, London.

‘But there is no sign of the boy.’ The coming to age of a queer boy told in the third person captures the alienation possible in that experience but that may be all it seeks to show! This is a blog on Michael Amherst (2025) ‘The Boyhood of Cain’.

May 4, 2025

‘But there is no sign of the boy.’ The coming to age of a queer boy told in the third person captures the alienation possible in that experience but that may be all it seeks to show! This is a blog on Michael Amherst (2025) The Boyhood of Cain London, Faber & Faber. I sighed … More ‘But there is no sign of the boy.’ The coming to age of a queer boy told in the third person captures the alienation possible in that experience but that may be all it seeks to show! This is a blog on Michael Amherst (2025) ‘The Boyhood of Cain’.

In the theatre we sit ‘there without moving. But under us all moved, and moved us, gently, up and down, and from side to side’. ‘Krapp’s Last Tape’ stuns and ‘moves’ me.

April 23, 2025

The stages of a long ovation: Gary Oldman honours his audience as Krapp. I am starting this blog in the train home from seeing Gary Oldman in Krapp’s Last Tape in York Theatre Royal. It is a strange thing trying to find the one phrase or sentence of action or speech that stays with you … More In the theatre we sit ‘there without moving. But under us all moved, and moved us, gently, up and down, and from side to side’. ‘Krapp’s Last Tape’ stuns and ‘moves’ me.

It’s all bananas: theatre posters and Samuel Beckett’s ‘Krapp’s Last Tape’.

April 21, 2025

It’s all bananas: theatre posters and Samuel Beckett’s ‘Krapp’s Last Tape’. The poster for the rather famous production starring Rich Cluchey; the lower photograph is Cluchey in the role Tomorrow I am going to see Krapp’s Last Tape at York Theatre Royal. The show booked up a long time ago but I managed to get … More It’s all bananas: theatre posters and Samuel Beckett’s ‘Krapp’s Last Tape’.

Good theatre is a shared experience but what is shared can only be decided by negotiation of our responsibility to all of its collaborators – writers, directorial staff, actors, the theatre and the audience. J.B. Priestley has his strange inspector (of what we ask) say in ‘An Inspector Calls’: “you see we have to share something. If there’s nothing else, we’ll have to share our guilt”. A funny thing happened to me when I went to see Stephen Daldry’s production at the Sunderland Empire on 8th April 2024.

April 11, 2025

Good theatre is a shared experience but what is shared can only be decided by negotiation of our responsibility to all of its collaborators – writers, directorial staff, actors, the theatre and the audience. J.B. Priestley has his strange inspector (of what we ask) say in ‘An Inspector Calls‘: “you see we have to share … More Good theatre is a shared experience but what is shared can only be decided by negotiation of our responsibility to all of its collaborators – writers, directorial staff, actors, the theatre and the audience. J.B. Priestley has his strange inspector (of what we ask) say in ‘An Inspector Calls’: “you see we have to share something. If there’s nothing else, we’ll have to share our guilt”. A funny thing happened to me when I went to see Stephen Daldry’s production at the Sunderland Empire on 8th April 2024.