ANDY HEDGECOCK is entertained by a playful novel that embeds a fictional game at its heart
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A necessary meditation on the corrosiveness of fascism
MARY CONWAY applauds the timely restaging of a play premiered to world-wide acclaim in 1981
REVELATORY POWER: (L to R) Elliot Levey, David Tennant and Sharon Small
[Johan Persson]
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
Good
Harold Pinter Theatre
IT’S Germany 1933; the Nazis have exploded into power; Jewish religious practices are outlawed and public conversation is peppered with anti-Jewish rhetoric.
Euthanasia for the infirm is openly discussed; Hitler’s cabinet have suspended the right to protest, and the world is about to be rocked to its foundations by one fanatical man and one uncompromising idea. What would you do if you were there?
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MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
MARY CONWAY is stirred by a play that explores masculinity every bit as much as it penetrates addiction