ANDY HEDGECOCK is entertained by a playful novel that embeds a fictional game at its heart
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Best of 2019: London Theatre
VERY BEST: "Master Harold"... and the Boys
[Helen Maybanks]
Death comes for Liberals, entitled murder, Vatican hit squads, and fraternising with the Blitz killer
New releases from Public Image Ltd, William Basinski, and John Luther Adams
GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
THE YEAR began with a flurry of Arthur Miller productions which left his canon feeling surprisingly dated.
A sprinkling of stardust with Wendell Pierce and Sharon D Clarke could not fully re-energise the Young Vic’s Death of a Salesmen and the sense of anarchy in Jay Miller’s production of The Crucible at The Yard was more enigmatic than eerie.
The West End transfer of The Price packed the biggest punch of the impromptu season, with David Suchet's star turn as Jewish furniture dealer Gregory Solomon resurrecting Miller’s piercing critique of consumerist society.
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MARY CONWAY applauds the timely revival of Miller’s study of people fatally deformed by the economics of survival
MARY CONWAY is spellbound by superb performances in Arthur Miller’s study of the social and personal stress brought about by Nazi Germany’s Kristallnacht
MAYER WAKEFIELD has reservations about a two-handed theatrical homage to jazz’s most mercurial musician
MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth