GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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A production doomed by lack of discernible purpose
A fantastical idea pushed way too far: (L to R) Ria Zmitrowicz, Rakie Ayola, Fisayo Akinade
[Manuel Harlan]
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
The Glow
The Royal Court
BASED on a premise originating in a little known book by Jessica Waites entitled The Woman in Time, the play attempts to personify an immortal female spirit erratically observed on our shores throughout history.
Usually bathed in a glowing light, her questionable presence in paintings, poems and written accounts was originally explained as a symbol or gauge of the time.
Alistair McDowall has turned this allegorical figure into a flesh and blood, supernatural agent unable to control her full powers. If this sounds a bit like another figure from one of the superhero franchises, you are not far off the mark.
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MARY CONWAY applauds the timely revival of Miller’s study of people fatally deformed by the economics of survival
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
SIMON PARSONS is beguiled by a dream-like exploration of the memories of a childhood in Hong Kong
Reading Picasso’s Guernica like a comic strip offers a new way to understand the story it is telling, posits HARRIET EARLE