A tall hill of turquoise, gendered cooing and guffawing, chainmail crop tops, and dance-fights with mops, performed to the sound of nineties nostalgia: Lizzy Shakespeare and Michelle Madsen, together known as Bait Theatre, effectively wield experimental drama to tear through the fanciful tropes of traditional fairy-tale femininity.
Two thousand years ago this winter, a heartbroken Roman nobleman died far from home by the frozen shores of the Black Sea.
The poet Publius Ovidius Naso, known to the world as Ovid, had lived a very different life from the millions of Syrian refugees who today find precarious asylum in nearby Turkey, or the Rohingya, further east, camped in the fields of Bangladesh. But he too knew the pain and bitterness of exile.
In Rome, together with his contemporaries Horace and Virgil, he had been lauded as one of the greats of Latin literature. He was certainly the most fashionable. Born into the Roman aristocracy and enjoying the patronage of the legendary benefactor Maecenas, Ovid had won fame with his sly, knowing love poetry, before writing one of the classics of world literature, the Metamorphoses.
We’ve just got through the new Tory annual tradition of having the nation vote on internal party issues and having the result batter the incumbent Prime Minister. And, whilst the result is somewhat bittersweet with comedy boob-patting socialist Jeremy Corbyn – aka ‘the future liberals want’ – tearing chunks out of the Conservative mandate, we are still left with a government formed of a crypto-nationalist, sexist, and regressive party and an actual nationalist, sexist, and regressive party.
The truth of the matter is that no one was sure what would happen before the election, or during it and now we’re on the other side it’s only fitting that British democracy remains chimerical, confusing and dare I say it, unstable (take that May!). As such I’d like, as I do every fortnight, to say a few words about the current position of the Arts.
by Eli Lambe
Hopkinson’s writing is enchanting. Her words wrap around you and inhabit you, they turn your skin to bark, the wind into a goddess, your body lifts and falls with the lines of beautifully crafted prose. To read her work is to be transformed, transported, transcended. Her first novel, Brown Girl in the Ring (1998), explored community, magic, and family in a Toronto “hollowed out” by white-flight and financial catastrophe.
Her second, Midnight Robber (2000), used language — particularly dialect — and mythology to imagine, from a Caribbean perspective, “what stories we’d tell ourselves about our technology – what our paradigms for it might be” and to bring together ideas of storytelling, colonialism and trauma. Since then, she has published several other novels and collections, all of which are thoughtful, accessible and fundamentally affecting, the most recent of which is the subject of this review.
For the past few weeks I have been mulling over the phrase ‘What’s in a name?’
Famously posed in Shakespeare’s Romeo and Juliet, the question itself addresses a complex struggle between society’s influence and personal principles. For Juliet, Montague is a cursed history and a treasured ill fate. By virtue of being Capulet, her query is a forceful defiance to alter the course of her history, thus changing the alliance to her name, her lover’s name, and the relation between the two families.
by Hannah Rose
Director Tim Lane’s adaptation of Richard III is bone-chilling—and that’s not only down to the lack of heating in the Shoe Factory Social Club in Norwich. Shakespeare’s story of the wicked and rapacious King Richard is superbly located by Crude Apache in the disused factory space, which has been turned into a frightening vision of the future, an urban hinterland where people live in makeshift communities of cardboard boxes and behind wire fences. Exposed lights, metal girders and old sofas furbish the old factory; I could have been inside a modish bar in Hackney, or a punk squat in Berlin. The thumping techno beats made it all the more ethereal, and for a moment I was back at an illegal rave I once went to when I was twenty, except this one sold gin and tonics and cups of tea.
by Hannah Rose
Now is the winter of our discontent
Richard III reimagined by The Crude Apache Theatre Company
23rd Nov – 3 December
The Crude Apache Theatre Company will be performing a striking adaptation of Shakespeare’s bloodthirsty Richard III at the Shoe Factory Social Club in Norwich. A post-industrial dystopian world awaits audiences, as the Company prepares to throw them into this sinister tale of the power-mad and murderous.