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Gordon Parsons
4.48
Theatre review / 18 July 2025
18 July 2025

GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today

constant
Theatre review / 4 July 2025
4 July 2025

GORDON PARSONS is disappointed by an unsubtle production of this comedy of upper middle class infidelity

HAMLET
Theatre review / 16 June 2025
16 June 2025

GORDON PARSONS joins a standing ovation for a brilliant production that fuses Shakespeare’s tragedy with Radiohead's music

londres
Books / 12 June 2025
12 June 2025

GORDON PARSONS recommends a gripping account of flawed justice in the case of Pinochet and the Nazi fugitive Walther Rauff

wasteland
Books / 16 May 2025
16 May 2025

GORDON PARSONS steps warily through the pessimistic world view of an influential US conservative

nazi nightmares
Books / 2 May 2025
2 May 2025

GORDON PARSONS is fascinated by a unique dream journal collected by a Jewish journalist in Nazi Berlin

titus
Theatre review / 2 May 2025
2 May 2025

GORDON PARSONS meditates on the appetite of contemporary audiences for the obscene cruelty of Shakespeare’s Roman nightmare

Pier Paolo Pasolini as Chaucer in his film of The Canterbury
Books / 16 October 2024
16 October 2024
GORDON PARSONS recommends an ideal introduction to the writer who was first to give the English a literary language
Books / 6 August 2024
6 August 2024
GORDON PARSONS welcomes a graphic biography of George Sand, the most popular French novelist in 19th-century Britain
The cast of School for Scandal
Theatre Review / 10 July 2024
10 July 2024
GORDON PARSONS relishes a fast moving production of Sheridan’s comic masterpiece
ELOQUENT SILENCES: The company in English by Sanaz Toossi
Theatre review / 16 May 2024
16 May 2024
GORDON PARSONS relishes a play that reveals how language carries much more than simple communication
Frontage of the Constitutional Court of South Africa in Joha
Books / 3 September 2023
3 September 2023
GORDON PARSONS appreciates a very necessary exploration of the benefit of knowing more than one language
KNOCK KNOCK WHO'S THERE? Alison Peebles as the Porter
Theatre Review / 31 August 2023
31 August 2023
GORDON PARSONS witnesses a production committed to great fun but signifying nothing 
Joanne Howarth as Mrs Hargreaves in Falkland Sound
Theatre Review / 24 August 2023
24 August 2023
GORDON PARSONS is underwhelmed by the inflation of a petty war into the undeserved status of epic
Cat White (Helen), Conor Glean (Cloten), Marcia Lecky (Dorot
Theatre Review / 5 May 2023
5 May 2023
GORDON PARSONS wonders at a near perfect production of Shakespeare’s eloquent fairytale
Illustration: Barbara Stok
Graphic Novel / 14 February 2023
14 February 2023
GORDON PARSONS enjoys the tale of a self-emancipating woman told with deceptive simplicity
(L to R) Matthew Trevannion as Brabantio/Lodovico, (on table
Culture / 7 December 2022
7 December 2022
(L to R) Jade Ogugua as Vi, Joe Barber as Laurie  and Tim Tr
Theatre / 21 October 2022
21 October 2022
L to R) Toy Soldierand Zaporozhian (Cossack)
Theatre Review / 14 September 2022
14 September 2022
Uniformity of ‘talking heads’ presentation annihilates all possibility of conveying the true drama inherent in the play, suggests GORDON PARSONS
Book Review / 17 June 2022
17 June 2022
THE STRUGGLE CONTINUES: 'Being black connotes a lack of a ri
BOOKS / 13 May 2022
13 May 2022
GORDON PARSONS recommends a book that will keep the reader, black or white, fully engaged and, as importantly, self-questioning
Company in full flow
Theatre Review / 1 March 2022
1 March 2022
GORDON PARSONS recommends a production that makes no demands other than being entertained
ESCAPING A TOXIC PAST: The statue of Edward Colston is pulle
Book Review / 14 January 2022
14 January 2022
GORDON PARSONS on a thought-provoking reflection on our out of joint times and a warning that there is no escape into the past
UTTERLY ABSORBING: Oliver Ford Davies (Graham Greene, left)
Culture / 1 December 2021
1 December 2021
On stage the intriguing Splinter of Ice, eccentricity of Wuthering Heights and a revival of the Living Newspaper tradition absorbed just as much as the graphic novel The Dancing Plague, Ariel Dorfman’s The Compensation Bureau or Mario Vargas Llosa’s Harsh Times