Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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A Tarantino-style blend of humour and violence
AMUSINGLY BLUNT: (L to R) Cecilia Noble (She), Tamara Lawrance (Racine) and Adelayo Adedayo (Anaia)
[Tristram Kenton]
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
Is God Is
Royal Court Theatre
ALESHEA Harris’s award winning play opened to rave reviews in New York in 2018 and now explodes on to the stage at the Royal Court with Ola Ince’s taut, visceral production.
Black twin sisters Racine and Anaia emerge from nowhere, scarred and on a mission to avenge their mother who as far as they are concerned has risen from the dead and understandably wants revenge on her former husband.
Their blood-spattered quest takes them to the mountains of California in an attempt to trace their father, now living a respectable middle-class married life with a disenchanted wife and a new set of twins.
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