The Design Museum’s Designs of the Year exhibition is one I’ve been looking forward to all year. Having missed the 2017 event, I was keen to head down to Kensington as soon as I knew the doors were open.
It’s very easy in this day and age to forget how design is everywhere. Every item we use has been researched, discussed, built, tested and then evolved to reach a product that works seamlessly. There’s a lot of thought in there.
The exhibition was designed into different sections, from medical technology including an operation table that fits into a backpack to fashion and Burberry’s incorporation of the rainbow in their iconic print. Rihanna’s make up line showcasing her broad foundation range, and a smart furniture system to make the most of living in a small space also made an appearance.
With 87 different innovative projects to see, this is an exhibition to check out.
Beazley Designs of the Year 2018 is on at The Design Museum until 6 January 2019.
From the very beginning, I knew Pity was not going to be a straightforward play. Having collected our tickets we were sent back out of the theatre, down a side alley and straight onto the stage.
The performance had already started, a brass band were playing centre stage and an ice cream stall had a long queue of patrons. We were invited to pick up our tombola tickets, buy an ice cream cone and take our seats. It opened up the theatre experience and, with it, created a community out of the audience.
Of course, once the show began it was clear we were to expect the unexpected. But the unexpected continued to surprise me. It was a fast-paced show, making the 1 hr 40 running time fly by. There’s a skill needed to keep an audience engaged when a play is in one act and Rory Mullarkey did just that.
From the simple town square, we followed Alex on a day like no other. There was death, bombs, guns, ice cream, a wedding, snipers, actors and statues. Each scene questioned the world we currently live in; the people and the politics. The questions raised covered the why and how to the confusion and the mundane. The world can change at any moment. Teams are decided, alliances are drawn and the bystanders are left to put everything back together again.
Pity worked very well as a comedy, it needed to have the lighter elements to contrast the destruction of the world we’ve come to know. The stage design enhanced the show as it managed to weave in more surprises at every turn. This is a piece of new theatre we need to see more of.
This may have been my first visit to the Royal Court, but it certainly won’t be my last.
Considering I used to spend every weekend in an art gallery (in fairness I did work there) it’s been far too long since I last visited an exhibition.
On a sunny Saturday, in search of an afternoon of culture, I headed to the Royal Academy for their 2018 Summer Exhibition. Curated alongside Greyson Perry, this year’s exhibition was always going to be a splash of colour and design.
I love the way the Summer Exhibition is created, art is suddenly everywhere, a mix-match of style: landscapes and portraits, still life and photography. Even politics and brexit got a mention. It was full of expression, of discussion starters as it evaluated life in the here and now.
Everywhere you looked there was something to catch your attention. Larger works of art sitting loud and bright, smaller pieces that needed to be spotted, sculptures, textiles, models and videos.
There was even a bar.
This may be my first Summer Exhibition, but I’ll be back for 2019.
The last time I set foot into the Barbican was to see Titus Andronicus, this was an altogether different piece of theatre.
The Encounter is an experience of sound, a new way of storytelling which in turn, is the oldest form of storytelling we have. Sound is already an intricate part of a performance, but when it is allowed to take centre stage it can alter an entire perception. A whisper can become louder than a shout. A rainforest can appear out of nowhere and disappear just as quickly.
We follow the story of Loren McIntyre, an explorer in 1969, deep in the Amazon rainforest. His search for the local tribe is less of an adventure as a challenge. It’s an encounter like no other, isolating and terrifying. Broken only through Simon McBurney’s realisation of the modern day, his daughter and the very act of storytelling.
The whole story is told through headphones, making the experience both more intimate and more isolating. You are no longer a member of an audience, but a solo viewer of a solo show. The staging is minimal, the sound is left to convey everything and with it your imagination controls the rest of the story.
It’s a clever retelling, focused on sound and isolation, of the ways we can communicate without language. Simon McBurney captivates the audience through a journey like no other. This is an adventure you should join.
I thought I knew the tale of England’s patron saint, yet this National Theatre production alternated my preconceptions of the famous story.
While we may begin with dragons and armour, knights and fair maidens. The story soon shifts to convey a much deeper message; questioning the world that is to come. Saint George (John Heffernan) interjects comedy at just the right moment bringing light relief to this otherwise quite dark play. Rory Mullarkey’s writing is tactically clever, intertwining this historic story with many modern twists and relatable experiences. Perhaps, we too, live in the constant shadow of the dragon.
Yet, it was the set that craftily brought each element together, bringing with it the world we know and the world we think we know. Gradually turning the simple village into a busy town and a thriving city — each time with a new challenge to face. The backdrop enhances the tale and with it the perception of development, of a new and improved life, while hinting at the sacrifice this entails.
This may have been my first visit to the National Theatre — but it certainly won’t be my last.
This past month has been quite a busy one, I’ve moved to London and in a typical fashion of exploring a new city took the first opportunity to be a tourist. While I’ve visited the majority of London’s museums, most of my memories are ten years old. It seemed the perfect time to take the tube to South Kensington and visit the National History Museum.
I expected the dinosaurs, the fossils and grand scale of the exhibitions – one thing that surprised me was the architecture. Hintze Hall was astonishing, a masterpiece of the victorian era and something my younger self hadn’t noticed or appreciated. Regardless of the displays and taxonomy this room now held, it was the stonework, bridges and arches that held my attention.
The experience from start to finish was impressive, entering through the Earth’s core and being taken on a journey across the atmosphere from the Earth’s beginning to today. It’s a perfect spot for half term this week with a range of exhibitions everyone will enjoy.
I’ve wanted to see the Book of Mormon for quite a little while now, it’s a musical that I know very little about. Although it’s been in London’s West End for four years, it’s managed to keep its plot fairly secret if you don’t go looking too closely.
Although I’ve stood in line for the lottery on two different occasions, failing each time to be the lucky one, I finally booked tickets for the show. It was certainly well worth the wait.
The show is a spectacular twist of comedy and musical – combining the very best of both. I’ve never laughed so hard while being sat in the stalls, and briefly I think even the actors corpsed on stage. Occasionally when at the theatre, you have an audience that heightens every emotion of the show, we laughed together, gasped in shock together, and stood together for a well-deserved standing ovation. It certainly added to the atmosphere and in response the actors put on a brilliant show.
The songs are incredible, brilliantly slotted into the plot of the musical. There are unexpected moments around every corner as the plot twists and turns at every opportunity. A hilarious and clever production.