GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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Sound and fury
GORDON PARSONS witnesses a production committed to great fun but signifying nothing
KNOCK KNOCK WHO'S THERE? Alison Peebles as the Porter
[Marc Brenner]
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
Macbeth
The Royal Shakespeare Theatre, Stratford-upon-Avon
THERE has long been an ongoing question at the RSC as to how to present Shakespeare to modern and, it is hoped, more youthful audiences.
There is a moment in Wils Wilson’s new production of Macbeth clearly indicating how we are encouraged to respond to this version of Shakespeare’s most profound treatment of the corrupting futility of ruthless ambition.
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