MATTHEW HAWKINS applauds a psychotherapist’s disection of William Blake
Hindu Times
With no suspense or dramatic development, Jaimini Jethwa's play is more an exercise in language than theatre
ASPIRANT POET: Jaimini Jethwa
[Studio RoRo] 
New releases from Christina Alden and Alex Patterson, Odette Michell, Clementine Lovell
JOHN GREEN is fascinated by a very readable account of Britain’s involvement in South America
Strip cartoons used to be the bread and butter of newspapers and they have been around for centuries. MICHAL BONCZA asks our own Paul Tanner about which bees are in his bonnet
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today
RON JACOBS welcomes a timely homage to one of the IWW and CPUSA’s most effective orators
ONE night in Dundee, a woman and two men break into a Spar supermarket. They get drunk. One bloke urges the other to respect the woman. And that’s about all there is to Hindu Times.
Whether this situation is dramatic, or plausible, enough to be a play is open to question and you learn very little about the characters in Jaimini Jethwa’s work, her contribution to Soundstage, the new season of audio plays hosted by the Royal Lyceum Edinburgh and Pitlochry Festival theatres.
Speaking an elaborate Dundonian patois, the characters don’t appear to have families or social connections. And they fantasise that they are Hindu gods and goddesses.
For sure, it’s bizarrely amusing to hearing the words Marhabharata, Dashavatara and Bhagavad Gita in thick Scots accents, in sentences that include the words “North Pus,” “nae ridin’ and bidin’” and “a’ this ding-dong charlie.”
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