Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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A clever collision of two counter narratives
MAYER WAKEFIELD recommends a show which finds the pulse of modern Britain in alarming fashion
(L to R) William Robinson as and Corey Montague-Sholay as Mark
[Ali Wright]
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
Bacon
Finborough Theatre
MY FIRST visit to the Finborough Theatre was to see a show called Fog. It was one of the first times I saw a production that really connected with me and my experiences. Now, exactly a decade on, comes another show which finds the pulse of modern Britain in alarming fashion.
Darren (William Robinson) and Mark (Corey Montague-Sholay) have just begun Year 10 at St Michael’s School in Isleworth. An area where, as Darren describes, the schools “have got the least money of like all the schools in London or some shit innit.”
It’s Mark’s first day after his mother has moved him, having been bullied at his previous school, and he’s flabbergasted by the kids watching porn in the dinner hall.
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SIMON PARSONS is gripped by a psychological thriller that questions the the power of the state over vulnerable individuals
MAYER WAKEFIELD is chilled by the co-dependency of two lost souls as portrayed by German communist playwright Franz Xaver Kroetz
MAYER WAKEFIELD wonders why this 1978 drama merits a revival despite demonstrating that the underlying theme of racism in the UK remains relevant
MARY CONWAY admires a vivid, compassionate portrait of a father and daughter pinioned in the criminal underclass