In a small side room tucked neatly between the Pre Raphaelites and 19th Century classics is Manchester Art Gallery’s exhibition on what it is to be human. A collection of portraits intended to show more than the individual characteristics and personality of the sitter. It’s seeking to explore expressions of human emotion common to us all – love, desire, frustration, grief and loneliness.
There is no denying what a production such as ‘I Capture the Castle’ brings to the world of theatre. A packed house, bums on seats, an audience happy to indulge in the escapism of an adaptation that allows them to snugly wallow in the cosy world of yesteryear.
As Catherine Love and Andrew Haydon continue their good cop, bad cop relationship with the critic prodigies, they have furnished us with yet another slew of guidelines and things to take into account. Although, this time I have to say I was completely enamoured with the Charles Spencer’s piece on why it’s not a critic’s job to be nice. Having read the piece, which I reproduce in its entirety below, I felt that it was something that resonated with my own approach.
Taking your seat to the latest offering from Sh!t Theatre, Letters from Windsor House, you are immediately hurled into the show. Main players, Louise Mothersole and Rebecca Biscuit, are already on stage, adorned with requisite trademark greasepaint, sat on a sofa, drink in hand, listening to 80s synth rock cheese classic ‘Alone’ by Heart.
Taking your seat to the latest offering from Sh!t Theatre, Letters from Windsor House, immediately prepares you for what is about to transpire. Main players, Louise Mothersole and Rebecca Biscuit, are already on stage, adorned with requisite trademark greasepaint, sat on a sofa, drink in hand, listening to 80s synth rock cheese classic ‘Alone’ by Heart. This informality is pretty much the spirit of what our senses will be subjected to for the rest of the show.