ANDY HEDGECOCK is entertained by a playful novel that embeds a fictional game at its heart
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Theatre review: Alys, Always, The Bridge Theatre London
Slick and stylish it may be but this version of a best-selling thriller has a moral vacuum at its core
Empty gesture: There’s a void at the heart of Alys, Always
[Helen Maybanks]
Death comes for Liberals, entitled murder, Vatican hit squads, and fraternising with the Blitz killer
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KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
DIRECTOR Nicholas Hytner clearly knows his audience. And, at first glance, his choice of Alys, Always, adapted by Lucinda Coxon from Harriet Lane’s popular novel, seems set to please.
The story is simple. Frances, a busy but put-upon subeditor for Sunday newspaper The Questioner, is driving back to London one night after a miserably mundane Christmas with her miserably mundane parents, when she happens upon a car accident in a lonely country lane.
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