Category Archives: live review

Live review: Placebo @ The Lowry

Clod Ensemble are an interdisciplinary performance company whose recent work has been shaped by a particular interest in human biology and medicine. Their new production, Placebo, appears to follow this trend, both exploring the medical concept of the placebo effect and employing … Continue reading

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Live review: BLACK @ Jabberwocky Market

Last week I caught 20 Stories High‘s BLACK at Darlington’s Covered Market, presented as part of the Jabberwocky Market festival. A Liverpool-based company that collaborates frequently with ‘young people from excluded communities’, 20 Stories High have referred to some of their … Continue reading

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Live review: An assembly @ Anthony Burgess Foundation

Programme: Louis d’Heudieres — Laughter Studies 6b (2017) Rowland Hill — Tha-at’s right (2018) Charlie Usher — An assembly (2018) The experimental music group An assembly kicked off their Autumn tour last night at Manchester’s International Anthony Burgess Foundation, with a three-piece programme including two … Continue reading

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Live Review: Lady Vendredi’s Urban Rites: Battle Cry! @ The Apiary

This is a long overdue review for a piece I saw in June at Hackney’s Apiary Studios: MAS Productions’ Lady Vendredi’s Urban Rites: Battle Cry! The results of a week-long, intensive workshop in ‘Secular Ecstatic Art’, this was a chaotic and riotous … Continue reading

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Live Review: Between Worlds @ The Barbican

I need to have some serious problems with a work in order to bother writing a bad review these days. It has to really rile me on an ideological level. I’ve actually seen quite a few operas so far this year that have … Continue reading

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Music Resistance at UNM 2014, Malmö

the biting point was invited to talk at the 2014 Ung Nordisk Musik (UNM) festival in Malmö. The festival was held during the final week of August, and took as its theme ‘Music Resistance’. It showcased recent compositions by thirty-five … Continue reading

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Live Review: Sunken Garden @ Barbican Theatre

A resounding disappointment from a composer/director whose previous ‘multimedia’ musical works have been frequently fascinating. Rather than considering the inherent musico-theatrical possibilities of its dazzling 3D video technology, the whole opera seems to have been retro-fitted around these projections in … Continue reading

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