Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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The Night of The Iguana, Noel Coward Theatre, London
Production of a Tennessee Williams play doesn't live up to its promise
In disgrace: Clive Owen as Reverend Shannon
[Brinkhoff Moegenburg]
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
HEAVILY influenced by a summer Tennessee Williams spent in Tahiti in 1940, The Night of The Iguana is an odd mixture of elements.
It’s like a jigsaw puzzle whose striking individual pieces are all present but, assembled as a whole, fails to live up to expectations.
Rae Smith’s tropical set — a Mexican hotel that’s little more than a few corrugated shacks overlooking the sea adjoining an imposing rock face — is the faintly allegorical setting for a diverse group of people who, breaking or ending their journeys, deliberate on and remonstrate about their lives.
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SIMON PARSONS is beguiled by a dream-like exploration of the memories of a childhood in Hong Kong
MARY CONWAY revels in the Irish American language and dense melancholy of O’Neill’s last and little-known play
‘There's outrage aplenty in this production but we never quite get to the dark night of the soul,’ writes WILL STONE
The Star's critic MARIA DUARTE reviews Better Man, How To Make Millions Before Grandma Dies, Mufasa: The Lion King, Dolphin Boy