Author: Fran Yeoman
Is it possible, or desirable, to truly distinguish your appreciation of an artist’s talent from your misgivings about their private conduct?Read the full story..
There were ghosts in this play alright, many more than Dickens ever intended.Read the full story..
Three defiant Scouse lads are the first people you meet on the way into this new iteration of Tate Britain’s Don McCullin 2019 retrospective. But it’s the faces from further away that will leave with you.Read the full story..
This would have been a better play with just two people in it.Read the full story..
There are occasions in theatres – I find they also occur sporadically in art galleries and are virtually guaranteed at the opera – when one wonders whether the failing is mine.Read the full story..
Miracle on 34th Street was always going to be a commercial banker for the Liverpool Playhouse.Read the full story..
Playing a straight role in panto can be a thankless task, and the programme cover and posters for this year’s festive offering from the Liverpool Empire make it clear where the production’s priorities lie.Read the full story..
Playwright Rona Munro tells us in her forward to the programme for Mary Shelley’s Frankenstein that she has a “visceral aversion” to analyses of a writer’s work that use their biography “to interpret the stories they told”.Read the full story..
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