MAYER WAKEFIELD applauds Rosamund Pike’s punchy and tragic portrayal of a multi-tasking mother and high court judge
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Dutchman, Tristan Bates Theatre London
Assault on racist attitudes in the US of the 1960s still packs a punch
Power play: Cheska Hill-Wood and James Barnes in Dutchman
[Diana Patient] 
FIONA O CONNOR recommends an unflinching depiction of child sexual abuse and its aftershocks, set in a working-class Liverpool family
New releases from Paul Weller, Wet Leg, and Dino Saluzzi
PAUL DONOVAN relishes the spectacle of a 1950s detective in pursuit of a 500-year-old murder mystery
MARIA DUARTE recommends the intricate study of a high-performance and highly dysfuntional German family
GUILLERMO THOMAS is intrigued by a history of the Middle East that demonstrates how promising post colonial beginnings were snuffed out by Western imperialist interests
AS PART of Black History Month, Kaitlin Argeaux has resurrected Amiri Baraka’s 1964 political allegory Dutchman in the appropriately intimate confines of Tristan Bates Theatre.
Set in a New York subway car, the 50-minute play revolves around the encounter between an enigmatic white woman, the thirty-something Lula, and Clay, a smart-suited black man in his twenties.
The capricious Lula (Cheska Hill-Wood) is soon revealed as a metaphoric representation of privileged white America. Her switches between lubricious hedonism and bored disdain for her fellow passenger are a broad swing at racist attitudes from Baraka.
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