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Synopsis Mrs. Herring the grocer s wife may not know much about ‘the art of theatre , but she knows what she likes - and she insists upon getting it. She doesn t want to see lewdness, violence, incest and murder - she can get all that at home! She likes valiant knights and heroic quests and damsels in distress and romantic love stories and happy endings - and most of all she likes her husband s apprentice, Ralph...Beaumont and Fletcher were the Two Ronnies of Jacobean theatre and, in their day, more popular and more performed than Shakespeare. In this, the most irreverent of their many collaborations, they joyfully throw together a rich cast of their finest comic creations for an evening of sheer fun. Part of Young Genius Season Part of the Young Genius Season
Someimes you see a play when you wonder why, during rehearsals, someone did not appreciate how truly awuful it was. This is one of those plays. The Knight of the Burning Pestle may once have been funny but it does not seem so now and it is not helped by one of the unfunniest stagings I have ever seen. As I left at the interval, it might have improved in the second half but I doubt it. - 80.177.231.164)
08 Oct 05
The acting is not of the greatest quality. The show tries to be somethink which it can't, and looks unreahearsed. Comedy is the wrong word to describe this performance,Apalling is a better one. - 213.107.224.23)
See also The Pit. Opened 1982. The Barbican is home to the internationally acclaimed bite programme, featuring a diverse range of the most exciting new theatre, dance and music from around the world. Bite has established firm relationships with leading international artists and its impressive list of Artistic Associates includes; Deborah Warner, Michael Clark Company, Cheek by Jowl, Fabulous Beast and Afroreggae UK Partnership. Whilst continuing to support the work of established companies, bite seeks to enable young and emerging artists to present work at the Barbican. Recent bite seasons have included music from the favelas of Rio, Shakespeare from Japan, an Icelandic Peer Gynt, puppetry from Canada, traditional dance from Cambodia and cabaret from South London. Bite work extends beyond the 1166-seat Barbican Theatre and the 200-seat Pit into non-traditional spaces, often blurring the boundaries between performer and audience and enabling an even greater number of people to enjoy its programme.
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