Dara, adapted by Tanya Ronder from Shahid Nadeem’s play, originally performed by Ajoka Theatre, Pakistan, opens in the Lyttelton Theatre on 27 January, directed by Nadia Fall. The cast is Esh Alladi, Nathalie Armin, Rudi Dharmalingam, Emilio Doorgasingh, Vincent Ebrahim, Mariam Haque, Indira Joshi, Scott Karim, Nicholas Khan, Ranjit Krishnamma, Anjli Mohindra, Simon Nagra, Ronak Patani, Prasanna Puwanarajah, Anneika Rose, Chook Sibtain, Gurjeet Singh, Liya Tassisa, Zubin Varla, Anjana Vasan, Gary Wood and Sargon Yelda. Dara will be designed by Katrina Lindsay with lighting by Neil Austin, music by Niraj Chag, sound design by Carolyn Downing, movement by Liam Steel and fight direction by Kate Waters.
1659. Mughal India. The imperial court, a place of opulence and excess; music, drugs, eunuchs and harems. Two brothers, whose mother’s death inspired the Taj Mahal, are heirs to this Muslim empire. Now they fight ferociously for succession. Dara, the crown prince, has the...
1659. Mughal India. The imperial court, a place of opulence and excess; music, drugs, eunuchs and harems. Two brothers, whose mother’s death inspired the Taj Mahal, are heirs to this Muslim empire. Now they fight ferociously for succession. Dara, the crown prince, has the...
- 12/19/2014
- by Press Releases
- Bollyspice
Trafalgar Studios; Royal Court; Palladium, London
The wonderful thing about Jamie Lloyd's production of Macbeth is that the Scottish play is Scottish. There is a rightness about the accents – it's almost as if one had only heard the play in translation until now. It is tremendous to hear James McAvoy's Macbeth say: "the multitudinous seas incarnadine" rolling the "r", giving the line new momentum. Yet designer Soutra Gilmour's stricken set – a concrete bunker filled with overturned office chairs – is not necessarily Scottish. We could be anywhere. And it is immediately obvious that this production is going to do Macbeth the hard way. It's set in a dystopian future in which everyone looks as if they have recently had a mud or blood bath, the witches wear gas masks and Banquo is so bloody he looks as though he ought to go straight to A&E. One feels one...
The wonderful thing about Jamie Lloyd's production of Macbeth is that the Scottish play is Scottish. There is a rightness about the accents – it's almost as if one had only heard the play in translation until now. It is tremendous to hear James McAvoy's Macbeth say: "the multitudinous seas incarnadine" rolling the "r", giving the line new momentum. Yet designer Soutra Gilmour's stricken set – a concrete bunker filled with overturned office chairs – is not necessarily Scottish. We could be anywhere. And it is immediately obvious that this production is going to do Macbeth the hard way. It's set in a dystopian future in which everyone looks as if they have recently had a mud or blood bath, the witches wear gas masks and Banquo is so bloody he looks as though he ought to go straight to A&E. One feels one...
- 2/24/2013
- by Kate Kellaway
- The Guardian - Film News
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