GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
Latest editorial
Shock tactics fail to generate empathy
SIMON PARSONS recommends a thought-provoking play about the long-term impact of traumatic childhoods and the morality of accepting the rehabilitation of social outcasts
POWERFUL ACTING: Abigail Hood as Kayleigh Grey and Emma Keele as Rebecca Hastie
[Ben Wilkin]
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
Monster
Park Theatre
ABIGAIL HOOD’S well-constructed naturalistic drama opens with two teenage Glaswegian girls hanging out, flirting and fantasising after school on a patch of wasteland, symbolic of their lives.
The Monster, played by Hood, is Kayleigh — a bright, bitter and damaged youngster whose home life with an abusive mother on the game is a living nightmare.
When her girlfriend finally deserts her for a boy, her instinctive response is an appalling act of violence towards the only adult who has paid her any attention.
Similar stories
SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
SIMON PARSONS is beguiled by a dream-like exploration of the memories of a childhood in Hong Kong
GORDON PARSONS is disappointed by an unsubtle production of this comedy of upper middle class infidelity
SIMON PARSONS is taken by a thought provoking and intelligent play performed with great sensitivity