Oedipus

“Andrea Peña’s BOGOTÁ took the audience on an eerie and dystopian 90-minute journey, that at times felt like an assault on the nervous system. A static and industrial soundscape dominates throughout; the lack of beat or musicality made it difficult to get a grasp on the pace and dynamics of the piece. The dancers costumes are minimal, with their nudity ensuring there is no distraction from the intensity of the movement that the human form goes through during the performance. It is truly impressive to witness the raw energy of these artists. The choreography requires the company’s constant movement to the point of exhaustion. Often, the dancers felt their way through the experience in solo choreography all occurring concurrently. At times, the company came together into a writhing mass, hysterical laughter indicating both pleasure and pain. This piece is incredibly physical. Large industrial sacks of material are hurled across the stage, dancers leap across scaffolding, others repetitively throw themselves to the ground. This performance was unlike anything I had seen before. It was jarring, exposing almost. We are so often used to seeing pieces of work that inspire, that are generically beautiful, and follow a pattern we can recognise. BOGOTÁ was none of these things. If you want to be challenged, this is one to add to your list.”

“Brendan Gleeson grimaces as the Guinness tap sputters, tries again, and then settles for a bottle. He takes his seat on a high chair at the empty bar, in the centre of the stage, and here he will remain for the majority of the performance. Gleeson is utterly fantastic, but he doesn\'t dominate. The structure of the play allows each character to have their turn in the limelight and the ensemble performance is exceptional. McPherson has been ever present in London this year with The Brightening Air (Old Vic), Girl From the North Country (Old Vic), now The Weir and, soon, The Hunger Games... The more I think about The Weir (it has now been exactly one month since I saw it), the more it sits with me. The cadence and rhythm of the play run a gentle course, like the pace of life in that part of rural Ireland. This production is excellent, the set design beautifully rendered and the dimly lit stage creating the atmosphere of the warm hearth in rural darkness. Something about it calls to mind creates the same sense of isolation and loneliness as looking at Nighhawks by Edward Hopper. McPherson\'s writing is spirited and evocative, and I would happily return to the theatre to see this, or another, production of The Weir.”

“I had no idea what awaited me when I sat down to watch The Maids on its third night at the Donmar. All I knew was Kip Williams, dark fantasy role play. The average age of an early week Donmar attendee tends not to be that young, I am pleased to say that, on this occasion, the mean age was younger than I am used to. Kip Williams has brought this 1947 play by Jean Genet into 2025 with bravado and gusto. Screens are at the centre of the production and the liberal use of filters lends itself to the phantasmagoric nature of the production as well as bringing an element of body horror. My companion and I were laughing out loud and 1hr40 sans interval breezed by in a maelstrom of chaos that was somehow simultaneously absurd and believable.”