Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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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
[Erin Rollman/Stefan Dotter]
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
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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