Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
Latest editorial
Lack of edge disappoints
The play’s quaintness makes it an odd choice for innovative theatre, writes MAYER WAKEFIELD
Barbara Flynn and Robin Soanes as Grandad Bert
[Alex 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
We Started to Sing
Arcola Theatre
DALSTON’S Arcola is one of London’s last fringe theatres to reopen its indoor space after two dark years.
They welcome back writer, and in this case also director, Barney Norris to his theatrical home, having had his debut Visitors and its follow-up Eventide staged in the old paint factory in the mid-2010s.
His latest work is perhaps the most evidently personal play I’ve ever seen. In it, he reimagines interactions between his parents and grandparents — “a study of the people whose lives led to mine,” as he writes in his intro.
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WILL STONE is impressed by Hania Rani who is already making a name for herself in the male-dominated world of modern classical music
MARY CONWAY applauds a study of comedians in whose cheap prejudice the tenets of the emerging political right are crystal clear