Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Best of 2019: London Theatre
VERY BEST: "Master Harold"... and the Boys
[Helen Maybanks]
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 YEAR began with a flurry of Arthur Miller productions which left his canon feeling surprisingly dated.
A sprinkling of stardust with Wendell Pierce and Sharon D Clarke could not fully re-energise the Young Vic’s Death of a Salesmen and the sense of anarchy in Jay Miller’s production of The Crucible at The Yard was more enigmatic than eerie.
The West End transfer of The Price packed the biggest punch of the impromptu season, with David Suchet's star turn as Jewish furniture dealer Gregory Solomon resurrecting Miller’s piercing critique of consumerist society.
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Mark Harvey pays tribute to a veteran of the days when the London building trade was a hotbed of working-class struggle, a legendary trade unionist, communist and poet
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
Following his death a month ago, DENNIS WALDER assesses the achievement of the playwright who developed his work in the townships
A nervous year, showing that the theatre, like the world, stands on a precipice and seems uncertain where to jump