by Colin Thomas | Nov 22, 2019 | Review
My smart, charismatic mom, who had always feared dementia, sank deeper and deeper into it for the last six years of her life. She’s gone. And now I fear dementia. So, when I was keeping notes as I watched The Father and I thought, “Fuck! Did I get that character’s...
by Colin Thomas | Nov 17, 2019 | Review
If good intentions were all that mattered, Anon(ymous) would be worth seeing. In playwright Naomi Iizuka’s riff on Homer’s Odyssey, a rogue wave sideswipes the boat that a refugee mother and her son are escaping on. The two are separated: the boy is washed...
by Colin Thomas | Nov 16, 2019 | Review
I think The Double Axe Murders wants to be atmospheric but, in this production at least, it’s not. In the story, which is based on real murders that happened in Newfoundland in 1809, Sarah Singleton has come looking for her fiancé and her brother, who have disappeared...
by Colin Thomas | Nov 14, 2019 | Review
Going into the Arts Club’s production of The Sound of Music I could hardly have been more resistant. I doubt you could find a more conventional, less adventuresome Christmas show. And the politics of The Sound of Music are weird: it tells the story of the Nazi...
by Colin Thomas | Nov 8, 2019 | Review
THIS IS A GUEST REVIEW BY MAX WYMAN What has made Crystal Pite “one of the dance world’s most sought-after artists” (The Guardian) is not simply the ravishing movement sequences that she invents. Her dance-works are animated thoughts about the complicated...
by Colin Thomas | Nov 8, 2019 | Review
Sure, Kim Kardashian wears great clothes, but does she have a soul? There’s a similar problem — although it’s not nearly as severe or creepy — with Kuroko: the production is stunning but, narratively and emotionally, Tetsuro Shigematsu’s script is perfunctory. On...
