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GEOFF BOTTOMS relishes a profoundly human portrait of a family as it evolves across 55 years in Sheffield
Pride and Prejudice* (*sort of), Leeds Playhouse/Touring
Jane Austen goes pop in raucous rendition of one of her greatest hits
PAUL DONOVAN applauds an excellently crafted new musical that explores the life and death of Ruth Ellis
PAUL DONOVAN is tickled by the excruciating take-downs of one of the funniest, wittiest, political writers around.
RON JACOBS points out, via a transcription of Kissinger’s secret recordings, that Trump could never have existed without Nixon and Kissinger
ELLIS RAE is persuaded that the advantages of the ‘talking cure’ are superior to the treatment of mental illness with drugs
JOHN GREEN, MICHAL BONCZA and BELLA KATZ review The Good Boy, Broken English, and Don't Be Prey
BELOW-STAIRS maids never get placed centre stage, even though there can be no romance without clean sheets and that’s the premise of Glasgow-based Blood of the Young’s adaptation of Pride and Prejudice.
HAVING FUN: The cast of Pride and Prejudice* (*sort of) (Pic: Mihaela Bodlovic)
It’s a slightly misleading framing of Isobel McArthur’s update of Jane Austen’s novel, which only gives superficial attention to the servants. Yet, directed by Paul Brotherston, it’s nonetheless a delightfully raucous production that swaps the book’s ironic politeness for direct, expletive-rich humour.
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