Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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A cerebral play, broaching questions that never quite land
MARY CONWAY tries her best to work out ‘what the hell is going on’ as style triumphs over substance
Gina Mckee and Paul Mcgann
[The Other Richard]
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
The Forest
Hampstead Theatre
PLAYWRIGHT Florian Zeller finds himself in a charmed position by anyone’s standards, his play The Father having achieved almost iconic status and the film version having won best actor Oscar for Anthony Hopkins. Following this and the other two plays in his family trilogy, Zeller we must believe can do no wrong.
So it feels like a fait accompli that his new play The Forest – in its customary translation by heavyweight Christopher Hampton – will gather accolades galore for its premiere at Hampstead Theatre.
The play – as with Zeller’s earlier work – is based on a single idea in which style and structure ultimately triumph over substance. And the prime fascination for the audience is the absorbing task of working out what the hell is going on.
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