ANDY HEDGECOCK is entertained by a playful novel that embeds a fictional game at its heart
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Hellishly good
SIMON PARSONS sees a brilliant musical reworking of Greek myth at the National Theatre which chimes with the Trump era
Oratory of the oppressed: Hadestown
[Helen Maybanks]
Death comes for Liberals, entitled murder, Vatican hit squads, and fraternising with the Blitz killer
New releases from Public Image Ltd, William Basinski, and John Luther Adams
GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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
Hadestown
National Theatre, London
TWELVE years in the shaping, Anais Mitchell’s musical, drawing on jazz, blues, soul and folk, proves remarkably prescient and her collaboration with director Rachel Chavkin has produced a stunning piece of theatre.
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SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth
