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Linck & Mülhahn

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He also said there was evidence that 13 and 14 year-old were amongst those being increasingly drawn into far-right activity internationally. Wilson and Bain are remarkable, deftly switching between the comedy and the subtler, more poignant moments” If anything, The Lehman Trilogy has become weightier, more threatening since it was first staged in 2018. The original wonder of Sam Mendes’s production of Stefano Massini’s play, adapted by Ben Power, was the incisive economy with which the history of American capitalism was charted through the fortunes of one Jewish family. That holds true in this revival. There are echoes of the marriage comedies of Jane Austen and Shakespeare, as Catharina’s widowed mother tries in vain to pair her off with a dunderhead with 15 acres, while her only daughter secretly explores the erotics of verbal sparring over bails of linen with the handsome young shopkeeper she once spied through a window, before he was forced to desert the army to escape physical examination.

Referring again to the Finchley Road case Price said he was “speculating now” but added “if there were other people in the community that may have seen something, if they came forward, it might have been a different story.”Bain feels "hopeful" at increasingly open discussion around gender, especially among younger generations: "It comes down to making a little bit of space for a few people - there isn't an army of LGBT people coming for you!," says Bain, referencing recent Census figures on gender identity.

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Linck & Mülhahn Theatre review: Two women in love? Or something more trendy?

The casting of Alex Kingston as Prospero more interestingly switches the emphasis of the plot, towards layers of affection and subjection. This is not a feminist first – Vanessa Redgrave took the role at the Globe more than 20 years ago – but it has a far-reaching effect. Kingston, who draws the audience to her with fervour, is a no-nonsense maternal figure, pulsing with warmth: it is the only time I have seen Prospero torn with sorrow when Ariel flies off. What is more, the most moral of the courtiers is also played by a woman. All fine, this, save that it results in a sentimental goody-baddy split on gender lines. Is a female Caliban impossible? She could still have had a violent go at Miranda.

Nor has she paused to ponder if remaking past truths is the fuel that drives Holocaust denial and Stop the Steal “new truths”. It is a shame because other than the dead weight of this on-the-nose messaging Thomas writes with a light touch and shows a talent for comedy too. Ruby Thomas’ epic and playful modern love story takes eighteenth century court records as its starting point and explores the extraordinary true life of this gender pioneer. It follows Ruby Thomas’ two sold-out plays for Hampstead Downstairs: The Animal Kingdom ('pure theatre’ – The Guardian) and Either (‘marks Ruby Thomas out as a daring and exciting new voice’ – The Arts Desk).Responding to Reform Judaism deputy Andrew Gilbert’s suggestion the failure to prosecute males meant the community had been “let down” by the justice system, Price said:”Neither the CPS nor the police can create evidence. But if the evidence isn’t there, and in that case Andrew, it wasn’t there, then it doesn’t meet our test and can’t get the case.” What do truth and intimacy mean under such extreme pressures? Owen Horsley’s production locates it in a tender bath scene – perversely stuffed into an overhung corner of the set – where Maggie Bain’s charismatic Anastasius strips off for the first time, in the garret that has become the couple’s marital home, moments before the law comes banging at the door, bringing an abrupt swerve into courtroom drama. Ruby Thomas’ epic and playful modern love story takes eighteenth century court records as its starting point. It follows her two sell out successes for Hampstead Downstairs: 2022’s The Animal Kingdom (‘pure theatre’ – The Guardian) and 2019’s Either (‘marks Ruby Thomas out as a daring and exciting new voice’ – The Arts Desk). Redacting Emilia’s much more likely Jewish identity was no problem for the creators of Emilia, and making Anastasius non-binary instead of a woman is a decision made just as breezily here.

All this is conveyed in Owen Horsley’s lively production with wit and irreverence for the societal norms outside which Catharina and Anastasius lived.But he urged members of the community to come forward with evidence they feel could be vital in helping secure convictions. AN EPIC LOVE STORY INSPIRED BY THE REAL LIFE OF AN 18th CENTURY GENDER PIONEER PREMIERES AT HAMPSTEAD THEATRE

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