GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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Things won't be what they used to be
GORDON PARSONS recommends a sharply satirical take on what awaits us after the pandemic ends
LAVATORIAL: The Foreign Invasion
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
Living Newspaper: Edition 3
Royal Court Theatre, London
THE ROYAL COURT’S innovatory revival of the Living Newspaper tradition, established in the US years of the Great Depression, is now settled into an assured format, with an ensemble cast of 15 presenting a kaleidoscope of sketches written by 14 writers.
They take online audiences on a daily satirical journey which explores the approaching world of “getting back to normal.”
Following the format of the popular press, the content includes a catchy musical extravaganza Front Page with a laboured Borisian headline metaphor “The Crocus of Hope is Poking Through,” underpinned by a threatening chorus of “Fuck the machine, Catastrophe reigns!”
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GORDON PARSONS salutes the apt return of Brecht’s vaudevillian cartoon drama that retains the vitality of the boxing or the circus ring
Groups are urging the US government to secure the 16-year old’s release as his mental and physical health decline dramatically after nine months inside Ofer prison, writes LINDA PENTZ GUNTER
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today
GORDON PARSONS is disappointed by an unsubtle production of this comedy of upper middle class infidelity