STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
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Collateral damage in the home front of the 'war on terror'
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
The bard recalls advice received 50 years ago from his TRB muse, and sorts out appropriate legislation for football club ownership
MICHAL BONCZA and MARIA DUARTE review Facing War, Kontinental ’25, Bugonia, and Relay
MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
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Theatre N16, London
IN RECOGNITION of the Armistice and all that it means, Theatre N16 are devoting the whole of November to Aftershock, a “military season” of three new plays that explore the meaning and nature of war.
The first, Martin McNamara’s powerfully realistic drama IED, is set in 2008 at the height of the Afghanistan conflict, where Captain Agnes Bennett, an army notification officer, has the routine administrative job of reporting deaths in the field to the nearest and dearest of the fallen.
It’s a formidable task.
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