Overall we felt that this is an exotic place to have a dreamed vacation and romantic party. The spa was not ready yet but we were told it will cover 700 square meters with providing every treatment required. The sound and light specialists did a job that made us want to sleep with our pool doors open all night believing we were living in a dream, just as everyone would like to live everyday, all his day by day life at home. Wood from India and Brazil and the Greek sunny white are the basic decoration materials used. Bars inside the 7 hectare blue pool and surrounding lounge music everywhere.No kids allowed in this resort which makes it very valuable for young couples and socialites. Glorious enlightening breakfast to start the day with. Excellently motivated numerous polite staff ready to make us feel at home. A beautiful Cretan Church reminded us of the Mediterranean location close to the friendly white marvelous entrance of the resort. We had a great uplifting sleeping experience and we enjoyed the quality of the materials and above all the healthy inspiring Cretan Micro climate, tastes and flavors. Although built 100 meters from the Sea-beach, the architects managed to convince us that we were living in a Maldives island inside the ocean sleeping on the surface of blue clean water.
Like a fairy tale ! We were among the first guests in this spectacular resort. She even has Stella explain to Bryan the relevance of their names (Stella, as in constellation Cassie, as in Cassiopeia).Spectacular, exotic and brand new. Unfortunately, the contrivances feel so deliberate that the effect is distancing, especially since Berryman is rarely content to allow her ideas and allusions to resonate on their own. Not only are Stella and Cassie twins, they’re placed in multiple oppositional positions - their shared past versus their separated present, Earth versus other planets, belief in the human scale versus the space program, whether or not to have children - so it’s abundantly clear that Berryman is setting up warring dualities. Like David Auburn’s “Proof,” Charlotte Jones’ “Humble Boy” and Lucy Kirkwood’s first-rate “Mosquitoes,” this is another play seeking to illuminate important scientific questions via personal ones and vice versa. And so it proves with Stella and Cassie locking horns.
With Cassie’s arrival after a year in space, director Ian Rickson’s typically patient production lifts up a notch with the clear expectation that there will be less revelry, more rivalry. Stella and Bryan are following in footsteps of Thoreau, living in a homey cabin in the woods, beautifully suggested by designer Rae Smith beneath Azusa Ono’s atmospheric light and Emma Laxton’s subtle sound design. The two of them are part of a mass movement dedicated to simple, low-tech, self-sufficient lives, consistent with saving this planet rather than looking beyond it to the moon and Mars. Stella has abruptly quit her past life, switching “sides” to align herself with her partner Bryan (Fehinti Balgun, bringing warmth to a faintly stolid role) who is an Earth Advocate. Stella worked for NASA as an architect, and it was she who developed the program that Cassie worked on. This is less exceptional than it might seem since not only was their father an astronaut, but Cassie was too. The last of these has included Stella’s brilliant twin sister Cassie (scrupulous, driven Lydia Wilson), a NASA botanist, who has been exploring the possibilities of life beyond Earth. space project is celebrating the safe return of the Moon Habitat team. We discover the world is struggling with the disasters of climate change: A tsunami in Sri Lanka has taken a million lives thousands of refugees have poured into India, which has already been torn asunder by a war over potable water and a massive U.S. debut with “Walden,” the three-actor season opener that has its eye on the future of the planet and beyond.Īlthough the date is left unclear, we’re promptly made aware of the fact that we’re in a none-too-distant future, courtesy of a news bulletin that Stella (a not so much febrile as high-wired Gemma Arterton) listens to on her phone. playwright Amy Berryman looks further still. But while Friedman looks to the future of theater, young U.S. Producer Sonia Friedman returns to the post- pandemic West End not with a safe revival but with a succession of brief runs for three socially-distanced world premieres by young writers, and it is an impressive act of faith in the future.