MARK TURNER wallows in the virtuosity of Swansea Jazz Festival openers, Simon Spillett and Pete Long
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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] 
PAUL DONOVAN recommends three new books that explore the human relationship with nature
Doomed adolescents, when the missing person is you, classic whodunnit, and an anti-capitalist eco-thriller
WILL STONE takes a ticket to indie disco heaven, but misses the rarely performed tunes
Reviews of new releases by Jens Lekman, Big Thief, and Christian McBride Big Band
TOM PIERSCIONEK recommends a remarkable series of interviews with those few and brave Israeli citizens who refuse to do military service
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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