MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
Theatre Review: Blood Knot, Orange Tree Richmond-upon-Thames
Athol Fugard's explosive family drama resonates in the era of Black Lives Matter
Excellent: Kalungi Ssebandeke and Nathan McMullen
New releases reviewed by IAN SINCLAIR
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
SOUTH Africa, 1961. Morrie Pietersen (Nathan McMullen) and his half-brother Zach (Kalungi Ssebandeke) live together in the putrid shanty town of Korsten, Port Elizabeth.
Morrie, light-skinned and bookish, dreams of a two-man farm in one of the “blank spaces” on the map while Zach, illiterate and weathered from working long hours in menial jobs, seeks only the company of women and old memories of nights on the town.
It’s a story that in Athol Fugard’s play pits the “blood knot” against the politics of colourism — prejudice or discrimination against individuals with a dark skin tone among people of the same ethnic or racial group — as this complex family drama unfolds.
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