Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Female gaze with a sharp focus
ANGUS REID sees some perceptive productions of work by women writers and directors in Edinburgh and Glasgow
Inspired: Suzanne Magonan and Ali Craig in Fibres
[Jassy Earl Photography]
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
IT’S the outright identification with working women that makes Francis Poet’s outstanding play Fibres (Citizens Theatre, Glasgow/Touring, ★★★★★) so effective.
Maureen Carr, as the central character Beanie, has been poisoned with asbestos from washing her husband’s clothes. “No-one wanted my brain,” she says after a lifetime of working with her hands but it is through her autodidact’s brain that we understand not just what asbestos does to the body but how the whole syndrome fits into capitalist oppression.
Her dying husband may be fatalistic but she remains rational, even as a remembered voice after her own death, in the dreams of her grieving daughter. “Just you make our deaths cost them,” she insists softly.
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