MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
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Theatre review: Alys, Always, The Bridge Theatre London
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STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
MARY CONWAY is disappointed by a star-studded adaptation of Ibsen’s play that is devoid of believable humanity
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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MARY CONWAY relishes two matchless performers and a masterclass in tightly focused wordplay
