Emma Brockes

Emma Brockes is a critic with The Guardian (UK). This account has been auto-generated, and does not indicate that this person is an active member of Show-Score.com. That said, if you "follow" this member, you will automatically be updated whenever s/he writes a new review.

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Reviews (4)
The Guardian (UK)

"Sullivan’s production is so ferociously good, so unexpectedly funny and searingly modern that it achieves that thing all productions of Shakespeare are at some level striving for: overcoming the language barriers to present a story you can lose yourself in as easily as a play in modern English...By far the cleverest, most subtle moment of the play, however, was that which wordlessly explained the end of Troilus and Cressida’s romance...This isn’t caprice, it’s survival." Full Review

The Guardian (UK)

"The very best of what a traditional production can be, throwing light on the text but with enough new touches to preserve against boredom…Pryce’s Shylock rescued the role from being a 'comment' on race, and returned it to the story of a battered, angry and increasingly mad old man, pushed to savagery by the savagery around him…In this production he was rendered as a complexly as I’ve seen…The effect of the play was as of a punch to the gut." Full Review

Cats
Midtown W
The Guardian (UK)

“As with every Andrew Lloyd Webber musical I’ve ever been to, I travelled home afterwards humming a tune that had drilled its way into my brain like a flesh-eating worm. I will also admit that, while there was, as ever, no plot, no subtext, no apparent point to 'Cats,' in the aftermath of seeing it I felt very cheerful...I can’t see it flying on Broadway in 2016. Too slow, too tame, too threadbare. And so why, 24 hours after seeing it and somewhat to my annoyance, am I still smiling?” Full Review

Privacy
East Village
The Guardian (UK)

“A piece of docu-theatre that combines actual interviews with straightforward drama and a hugely innovative set of interactions with the audience...'Privacy' debuted at the Donmar two years ago and despite some fresh gags about Brexit, it also occasionally looks its age...At its worst, the play can feel like a primer for an 80-year-old...In what is, for the most part, a funny, smart, analytical play, the end is profoundly moving and even shocking.” Full Review