‘Pared-down and contemplative, in the second half it is Tatyana who is in control and Onegein who is broken. The tree has gone and in its place are layers of material creating the effect of an industrial smog, intercut by slowly encroaching thick lines of light…’
I’m doing some reviewing for the Edinburgh International Festival 2012 blog. First up is my take on the opening night of Deborah Colker’s Tatyana.
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Viccy Adams 