MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
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Best of 2018: London theatre
By MAYER WAKEFILED
Authentic: Ben Weatherill's Jellyfish
New releases from Mountain, Soul Asylum and Michael McDermott
ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
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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