Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Brothers bereft of context
Wider political and social concerns never intrude on a domestic drama of fraternal discovery, says JOHN GREEN
ONES TO WATCH: Danny Sapani (left) and Anton Lesser
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
Hymn
Almeida Theatre, London
THIS two-hander serves up riveting performances by two consummate actors who have had to rapidly adapt from performing in a real theatre with a live audience to an onscreen-only production involving many close-ups.
The lighting and camerawork both work wonders in a very confined space and what is perhaps lost from the theatrical experience is made up for with the bonus of intimacy.
Thirty-something Gil (Anton Lesser) is delivering the eulogy at his father’s funeral when, towards the end of the ceremony, he is approached by Benny (Danny Sapani), who reluctantly reveals that he is Gil’s half-brother, the son of the same father who has just been despatched to the afterlife.
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MARY CONWAY revels in the Irish American language and dense melancholy of O’Neill’s last and little-known play
Odysseus’s homecoming myth is treated as a factual story, with strong resonances for our contemporary world. This is an implicit anti-war film that has an urgent relevance, writes JOHN GREEN
GORDON PARSONS is bowled over by a skilfully stripped down and powerfully relevant production of Hamlet
SIMON PARSONS applauds an expressive and delicate drama that depicts a deaf son’s Hindu funeral ceremony for his father