REVIEWS
Broadway Baby Bare – shocked, appalled, elated. ‘Bare’ is a visceral, compelling and engaging piece of theatre, filled with moments of breathtaking violence. It tells the story of Skinner, a man who is drawn into the world of bare-knuckle fighting, and tells it through scenes, monologues, and the best stage-fighting at the Festival. Skinner’s story… Continue reading
The List Hard hitting drama Gritty, violent theatre set in the world of bare-knuckle boxing from BareBack Theatre. The sharp writing and fantastically choreographed fight scenes wouldn’t have half the impact without the strong central performances, from writer/director Renny Krupinski as slippery agent/promoter Arden and Paul Michael Giblin as fighter Skinner ‘The Killer’, who gets… Continue reading
The Stage Written, produced, directed, choreographed by and starring the same person, is often a warning flag for fringe shows, but in the case of Renny Krupinski’s Bare the combination is legitimate, the product of a writer who knows exactly how he wants his vision to take shape and who has the talent in all… Continue reading
The Scotsman “Beggars can’t be choosers – as soon as they become choosers they’re beggars again,” the silver-tongued Arden tells his boxing protégé Rick Skinner. Unfortunately, following this advice sets family man and reluctant fighter Skinner off on a journey that leads him to systematically destroy his body, principals and the lives of those he… Continue reading
Ian C. Mercer Lady Macbeth rewrites the rulebook by Broads with swords theatre company is a clever remixing of Shakespeare with a touch of Buffy and Tomb Raider. Set in the 23rd Century, it sees Amazonian ex-Cyberkiller Tara Loft (wonder where they got that name from?!) protecting the Jewel of Life, the source of all life… Continue reading
The Scotsman Creator Renny Krupinski is a leading UK stage-fight master and has dubbed his young cast “Broads with Swords”. Keeping the daggers, fists and feet flying, his show is part old-school Footlights revue, part Red Dwarf. The choreography is deft, and the snappy interplay between pentameter and Tara’s game-speak is hilarious. Continue reading
