I can close my eyes and still hear the baseline thumping, the monotonous sounds that accompany the spoken words, unrelenting, one after the other, delivered with ferocious ferocity at a speed that makes my brain struggle to keep up. It is incessant, persistent, unremitting, unyielding, remorseless, an undercurrent of words, sounds and light that is continually pushing me deeper under water, and as I come up for air, I am dragged back down, drowning in the myriad that is this bewildering concoction from Kieran Hurley. Heads Up.
Things are getting serious in the course for critics. Current mentors, Andrew Haydon and Catherine Love, decided that this week we’d have the pleasure of being regaled and inspired by none other than Lyn Gardner.
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.