STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
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‘Come with us, run with us, we’re gonna change the world’
LYNNE WALSH recommends an uplifting musical narrative of Glasgow shipyards’ struggles past that is perfectly fit for the challenges of today
TERRIFIC: Heather Gourdie as Eddy and Janie Thomson as Aggy
[Townsend Theatre Productions]
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
The bard recalls advice received 50 years ago from his TRB muse, and sorts out appropriate legislation for football club ownership
MICHAL BONCZA and MARIA DUARTE review Facing War, Kontinental ’25, Bugonia, and Relay
MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
YES! YES! UCS!
Touring
IF this play doesn’t ignite a flame of pride in your heart for working-class struggle, check your pulse.
You may laugh, cry, sing along with raucous rock and melancholy folk. You’ll certainly yearn for the real leaders of the left, and celebrate again the victories of “people power” over venal politicians.
You’ll also witness two young actors, Heather Gourdie as Eddy, and Janie Thomson as Aggie, holding together this complex, demanding production, with an easy assurance usually associated with more mature performers.
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TUC Midlands marks 20 years of celebrating the 1910 chainmakers’ victory with a festival that connects historical lessons to modern struggles — because working-class history should inspire action, not just nostalgia, writes STUART RICHARDS
Generous helpings of Hawaiian pidgin, rather good jokes, and dodging the impostors
PETER MASON points out that it takes more than a string of poppy power ballads to make a satisfactory drama