MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
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Hansard, National Theatre, London
Marital skirmishes point up personal and political schisms of the Thatcher era
Dysfunctional duo: Robin Hesketh (Alex Jennings) and Diana (Lindsay Duncan)
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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
WHEN junior Tory minister Robin Hesketh (Alex Jennings) returns to his idyllic Cotswolds home after a busy summer week in Parliament, he finds foxes making a mess of his garden and his unhappy, drink-sodden wife Diana (Lindsay Duncan), ready to do some destructive emotional digging of her own.
Over the course of an hour-and-a-half without interval, the two sixty-somethings pick, poke and provoke as they range over familiar argumentative territory maritally.
Yet gradually, and at Diana’s insistence, the old, well-rehearsed topics give way to new ones that have lain unconsidered for many years, leading to a dramatic and heartbreaking revelation about a painful incident from the past.
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