MARK TURNER wallows in the virtuosity of Swansea Jazz Festival openers, Simon Spillett and Pete Long
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‘Being disturbed is positive’
ALEXANDER ZELDIN tells Mayer Wakefield what he hopes to achieve with his new play about the impact of austerity on the most vulnerable
Eyes on the margins: Faith, Hope and Charity in rehearsal
[Sarah Lee] 
PAUL DONOVAN recommends three new books that explore the human relationship with nature
Doomed adolescents, when the missing person is you, classic whodunnit, and an anti-capitalist eco-thriller
WILL STONE takes a ticket to indie disco heaven, but misses the rarely performed tunes
Reviews of new releases by Jens Lekman, Big Thief, and Christian McBride Big Band
TOM PIERSCIONEK recommends a remarkable series of interviews with those few and brave Israeli citizens who refuse to do military service
AS AN artist in residence at the National Theatre, Alexander Zeldin is under a certain pressure to create work that speaks to the state of the nation.
But, unlike many playwrights who look to the upper echelons of society to try analyse the state we’re in — look no further than the lauded work James Graham and David Hare have had staged at the National over the years — Zeldin’s gaze is in the opposite direction.
Rather than the corridors of Westminster, Zeldin’s focus is on the margins of society, to examine what he describes as the “the intimate effects of austerity — the defining policy of the last 10 years.”
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