Originally conceived in 2010 for Tricycle Theatre‘s Women, Power and Politics Festival, Handbagged was adapted to a full length play by writer Moira Buffini and director Indhu Rubasingham in 2013. It recounts the events of Margaret Thatcher’s eleven year Prime Ministerial run via the weekly meetings she had with HRH Queen Elizabeth II. Continue reading Review: Handbagged by Moira Buffini
Women in the arts industry can sometimes be required to write, produce, or star in works that undermine or outright insult their gender just to stay in the business. Opera, in particular, can be a very conflicting field for women to work in. Continue reading Review: Tutte Contro Verdi by iSIFUERA S.L.
Matthew Bourne OBE has a reputation in ballet so great that it precedes him even when he’s 3,000 miles away and facing in the opposite direction. He and his productions have accrued a truly incredible number of awards and accolades and it was therefore always unlikely that I was going to give The Car Man a bad review. Continue reading Review: Matthew Bourne’s The Car Man
There is an inherent problem with reviewing opera from a modern, and in my case feminist, perspective: a lot of the material is a century old or more. The stories and characters of opera often reflect a world in which issues such as race, class, religion and gender were viewed very differently from the way they are now. There are new productions, but mostly we see the classic stories, with the score and libretto basically unchanged since the premier. Continue reading Review: Il Trovatore, Scottish Opera