Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Theatre as art and artifice
A kaleidoscope of human emotions offered by Andrew Scott’s virtuoso performance as multiple characters gets the thumbs up from MARY CONWAY
AN ASTONISHING FEAT: Andrew Scott
[Marc Brenner]
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
Vanya
Duke of York’s Theatre
IT SOUNDS preposterous: the great Chekhov masterpiece Uncle Vanya reduced to a one-man show. But yes, this is the latest sensation to hit the West End in a version co-created by adaptor Simon Stephens, director Sam Yates and actor and erstwhile “hot priest” from Fleabag Andrew Scott.
As if not daring enough that Scott plays all the parts, this highly potent version also abandons its Russian setting, renames its characters and tentatively modernises, turning the demon professor into a self-regarding film-maker and the samovar into a teapot.
Irish accents proliferate and the vast distances of Russia are minimalised to fit the British Isles by suggesting that those made potentially homeless in the play decamp to the Isle of Man.
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