Theatre

The power of the walkout

To walk out of a public performance before the end – be it the theater, a concert or a lecture – is not the done thing. It’s considered an antisocial act that disrupts the performance and thus other people’s pleasure. To walk out provokes tuts of disapproval and scowls of indignation. And yet while it’s something we all disapprove of (at least in theory) it’s also something we all secretly long to do. Who hasn’t sat and squirmed in their seat at some tedious piece of theater and wondered: how much more of this must I suffer? And who hasn’t been subjected to one of those long, sycophantic interviews with

walkout

Why do theatres think audiences want Covid-related drama?

Hats off to the Orange Tree Theatre in Richmond. They’ve discovered a new form of racism. Some people say we have enough ethnic division already but in south-west London they’re gagging for more apparently. A new play, Prodigal, examines the prejudice endured by a Ugandan chap whose mother moved to London when he was a child and whose younger siblings are British. Family tensions depressed him. ‘You all made me feel ugly,’ he moans. The shifty whinger has returned home after his mother’s death in order to cheat his family out of an insurance pay-off. It’s remarkable to see a drama that reinforces a damaging stereotype but the author, Kalungi

Difficult and disturbing: Una reviewed

Una is a psychological drama about a woman who was abused by a man when she was 12, and who confronts him 15 years later, and it’s a hoot. I’m toying with you. Of course it isn’t. It’s disquieting. It’s disturbing. It’s difficult. It’s 90 minutes of uncomfortably shifting in your chair and wishing you were at the latest heist caper that doesn’t make sense. But it is also compelling, up to a point, and your responses will be so complicated that you won’t know where to start unpicking them. Or how. The film is based on the play Blackbird by the Scottish playwright David Harrower, which has won multiple