Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Best of 2018: London theatre
By MAYER WAKEFILED
Authentic: Ben Weatherill's Jellyfish
[Samuel Taylor]
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
IN ANOTHER year of political turmoil, London theatre certainly had something to say. At its best, it was responsive and highly vociferous on multiple fronts, ranging from #MeToo to inner-city social cleansing and much more besides.
Nicholas Hytner’s masterful production of Shakespeare’s Julius Caesar at the newly opened Bridge Theatre got the year off to a rip-roaring start.
Manipulating the audience both physically and mentally, Hytner employed a superb cast to inject the play with a raw immediacy that railed against power-hungry elites.
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GORDON PARSONS joins a standing ovation for a brilliant production that fuses Shakespeare’s tragedy with Radiohead's music
MAYER WAKEFIELD wonders why this 1978 drama merits a revival despite demonstrating that the underlying theme of racism in the UK remains relevant
A nervous year, showing that the theatre, like the world, stands on a precipice and seems uncertain where to jump
MAYER WAKEFIELD speaks to playwright Richard Bean about his new play Reykjavik that depicts the exploitation of the Hull-based “far-fleet” trawlermen