GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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Sympathy for the devils
‘There's outrage aplenty in this production but we never quite get to the dark night of the soul,’ writes WILL STONE
HOMOSEXUAL REPRESSION: Kingsley Ben-Adir as Brick and Seb Carrington as Skipper
[Marc Brenner]
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
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
Cat On A Hot Tin Roof
Almeida Theatre
TENNESSEE Williams’s favourite play is a masterpiece of richly drawn characters, open to seemingly endless interpretation.
Set on a cotton plantation in the Deep South, the original 1955 production had a white cast performing as the family of wealthy landowners with black actors playing servants.
Since then productions have featured an all-black cast and those set in the modern era complete with mobile phones and iPads.
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MARY CONWAY recommends a play that some will find more discursive than eventful but one in which the characters glow