Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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A forgotten voice in women’s fight for control over their fertility
MAYER WAKEFIELD applauds a timely revival of Pearl Cleage’s 1995 drama
(L to R) Samira Wiley as Angel, Ronkẹ Adekoluejo as Delia, Sule Rimi as Sam and Giles Terera as Guy
[Marc Brenner]
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
Blues For An Alabama Sky
Lyttleton, National Theatre
IN JUNE of this year, the 1972 landmark case of Roe v Wade which gave women the right to abortion in the US, was overturned in a shocking attack on women’s rights.
Women’s fight for control over their fertility lies at the heart at Pearl Cleage’s 1995 drama which is given a timely revival in Lynette Linton’s dazzling new production.
Queer seamster Guy (Giles Terera) shares his apartment with songstress Angel (Samira Wiley) in Harlem as the great depression is talking hold. Their intimate bond owes much to their differing natures, with the diamond-hearted and hopeful Guy providing a lively sounding board for Angel’s raging vulnerabilities.
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MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth
MARY CONWAY is blown away by a flawless production of Lynn Nottage’s exquisite tragedy
MAYER WAKEFIELD wonders why this 1978 drama merits a revival despite demonstrating that the underlying theme of racism in the UK remains relevant
PETER MASON is moved by a striking production of Noel Streatfeild’s enduringly popular children’s book