Review

aftercare preview

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Teri-Anne Teo on Remote Goat Steve Lambert’s new play, Aftercare examines the tentacled nature of sex and its unforgiving grip on three lives. The play begins with Paul (Daniel Howard) and Sam (Vanessa Russell), who are involved in a sadomasochistic relationship. Despite Paul’s dominant sexual role, he appears accommodating, rather than authoritative, in his delivery. His unlikely and almost, uncertain, sexual role is explained as it is revealed that he is used to being a submissive partner in his relationship with Lisa (Claire Amias), who completes the triangle. Exhausted by Lisa’s sexual demands, he seeks reprieve in Sam, considered a...

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Optik at Tacheles

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OPTIK AT TACHELES This article first appeared in Total Theatre Tacheles is no ordinary theatre. The outside of the building looks as though it is falling to bits. It is huge, made up of at least three blocks in one of Berlin’s main streets, with rusting ghost-like reminders of its origins as a department store and cinema.  In real estate terms I imagine it is worth millions.  But although it is surrounded by the cranes and concrete of Berlin’s current building frenzy it appears to be safe.  It is famous.  Tacheles is now on the tourist itinerary : a shrine to a past that could leave  ruined buildings untouched for decades, and to a new contemporary spirit...

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The Man Himself

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Nicholas Butler Essex County Standard   The Man Himself by Alan Drury Essex University Theatre Alone on the stage sat a youngish nondescript man who chain smoked and told us, as it might be to the psychiatrist, that he ought to have been seeing, about his life, his condition and prospects. His name was Michael and he was apparently very concerned about the lack of moral standards in the world. ‘There is right. There is wrong. There are standards. They must be maintained,’ he said wretchedly. What he meant was that in order to save himself the difficulty of constructing a moral and social code for himself he would have liked on to have been constructed for him....

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One Spectacle Review

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MALCOLM HAY TIME OUT   Optik are working in that area of performance art where the subtle interplay of actions, images and sounds can tease or fire the imagination but will provoke different responses and associations in each spectator. For me the richest and most startling vein of imagery plays upon contrasts and points of conflict between East and West: extremely funny sequences of stylised sexual attraction and rejection between performers in evening dress exist in ironic counterpoint with an Oriental peasant woman sitting reading a ‘Dandy’ comic. The overall effect is a somewhat more restrained, less anarchic People Show, though a fishing expedition,...

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Short Tour Review

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Optik Radiator, Manchester   Into a landscape of bulbous white sculpture, mostly phallic, or reminiscent of the orifices down which people disappear in Bosch paintings, marches a Victorian lady with notebook in one hand and brolly in the other. Miss Amelia Edwards (Sally Gulley) is fastidiously documenting the ruins of Egypt, resolutely keeping pace with the flow of objects brought before her by a grinning, splay-footed Egyptian guide (Heather Ackroyd) who proffers boat tours and shouts ‘Panoramic views!’ at appropriate intervals.   This is Optik’s fourth show since they started in 1981. They excel at creating a surreal environment for their work which...

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Apple Theatre

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Peter Avis on Apple Theatre Morning Star May 1969   Apple Theatre, under the aegis of the Beatles’ organisation, is creating some of the most exciting experimental theatre of today. Recently, in the Brighton Combination theatre space, the company presented ‘Apart’, a performance around apartheid in South Africa. There were no costumes, no décor apart from that created by the lighting. But through the dramatic employment of documentary material, police interrogations, banning orders, the pass laws, the company brought the insidious reality of racial discrimination in to the experience of every member of the audience. You could not escape the meaning of...

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