Power play: Cheska Hill-Wood and James Barnes in Dutchman
[Diana Patient]
HENRY BELL is fascinated by the underlying curiosities and contradictions of one of the great poets of the Mediterranean
DAVID RENTON recommends a books that explores the ways in which disabled people are made to feel both of and not part of this world
JONATHAN TAYLOR is fascinated by the philosophical problems that permeate the art of life-writing
GORDON PARSONS steps warily in between the lines of Britain’s most famous diarist
SIMON DUFF recommends a recording of Arvo Part that takes the listener on a pilgrimage through seemingly distant times and events of the Bible
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.
JOHN WIGHT tells the riveting story of one of the most controversial fights in the history of boxing and how, ultimately, Ali and Liston were controlled by others
