MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
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Follow the Movement: August 17, 2023
A tap-dancer negotiates non-entity to great effect, while Israelis indulge their own brand of marshalled torture
Thaddeus McWhinnie Phillips in Lost Soles; L-E-V Dance Company in Chapter 3: The Brutal Journey of the Heart
New releases from Mountain, Soul Asylum and Michael McDermott
ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
ON the track to recognition, starting blocks can be mounted by starlets alongside peers for whom the way ahead will imperceptibly fork. Tap-dancing artistes who totally know their stuff may get shuffled to Wyoming (or elsewhere) for endless earnest address to non-entities.
In Lost Soles (★★★★★) at Assembly Roxy, dancing actor Thaddeus McWhinnie Phillips seemingly fritters away quite a bit of stage time setting up unprepossessing retro objects and props, nattering amiably the while.
His moderate pace is deceptive. Key moments arise. Abrupt set-pieces convulse with layered information and skill. Such flurries open portals to a world we could fruitfully acknowledge — the world of the unsung.
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