Peter Yeung is an arts journalist based in London, with a background in social anthropology. He has written for The Financial Times, Time Out London, Vice, Dazed & Confused, and the Huffington Post. He has also worked for the ICA, the BFI, and the BBC. Contact: firstname.lastname@example.org
The original production - an unqualified failure at the Edinburgh Fringe - had Halliwell in the title role, was directed by a 22-year-old Mike Leigh, and lasted nearly six hours (down from more than twice that in written material).
But, to be clear, this is not Secret Cinema's finest production. It really does test the boundaries between the expansive and the industrial - it's twice the size of last year's Back to the Future installation.
Despite the country's rich and gripping, war-torn history, none of Deutschland's cities have tended to have the iconic draw of the real urban heavyweights - Paris's picturebook charm, London's vibrant swing, or Rome's devastating beauty.
The niche that <em>Grimm Tales</em> is aiming for is not easily achieved - open for the above eights, but also entertaining for adults - and perhaps this is the production's downfall. At times, the script is tickling and enjoyable, yet at other moments it is glaringly poor and simplistic, whereas, when taken as a whole, the evening is of somewhat formulaic fantasy...
By the end of Mac DeMarco's largest ever London show - at Kentish Town's sold-out, 2,350-capacity venue, The Forum - he is topless, only wearing one shoe, and wildly playing a rendition of Metallica's Enter Sandman, to an ecstatic crowd (though, there were a few bewildered audience members)...
For two of the most visceral, invigorating, and progressive bands in the country - both based in the supposed creative capital that is east London - to be taking inspiration from a movement started a century ago, is perhaps a little jarring.
The 58th London Film Festival brought us a plethora of début gems and world premières, exploring the ebbs and flows of life. Here we take a look at some of the lesser-known highlights, and the fresh perspectives that they offer.
n Chris MacDonald's slick, provocative, and generally stirring debut play <em>Eye of a Needle</em>, in place of rich men there are homosexuals from Jamaica, Uganda, and Nigeria; instead of the kingdom of God, we have modern England, with its scaremongering tabloids, institutional racism, and xenophobic populism.
Just as Ayn Rand's Roark subversively demolishes the Corlandt building after promises are broken and his designs changed, these artists are undermining a society that no longer functions for the benefit of the common people. Their art not only brings home the reality of today's surveillance state, but asks, do we have to live this this?
The success of Mosse's work exposes the shortcomings of other war photography and documentary photography today: much of it fails to overcome the widespread desensitisation of the viewing public. His undulating vermillion landscapes and conspicuous magenta figures are not rose-tinted depictions, so to speak: they do not make light of the grave situation.
What's special about <em>The Trip to Italy</em> is its ability to make the intertextual, Mikhail Bakhtin's early 20th Century concept of referencing other "texts" in a "text", so natural and accessible. The series evinced a peerless and popular postmodernism.
12/05/2014 10:44 BST
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