GEOFF BOTTOMS relishes a profoundly human portrait of a family as it evolves across 55 years in Sheffield
Dutchman, Tristan Bates Theatre London
Assault on racist attitudes in the US of the 1960s still packs a punch
Power play: Cheska Hill-Wood and James Barnes in Dutchman
[Diana Patient]
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
AS PART of Black History Month, Kaitlin Argeaux has resurrected Amiri Baraka’s 1964 political allegory Dutchman in the appropriately intimate confines of Tristan Bates Theatre.
Set in a New York subway car, the 50-minute play revolves around the encounter between an enigmatic white woman, the thirty-something Lula, and Clay, a smart-suited black man in his twenties.
The capricious Lula (Cheska Hill-Wood) is soon revealed as a metaphoric representation of privileged white America. Her switches between lubricious hedonism and bored disdain for her fellow passenger are a broad swing at racist attitudes from Baraka.
Similar stories
MAT COWARD takes a look at some of the options for keen gardeners as we enter 2026
SIMON PARSONS is beguiled by a dream-like exploration of the memories of a childhood in Hong Kong
PAUL FOLEY picks out an excellent example of theatre devised to start conversations about identity, class and belonging
JOHN WIGHT tells the riveting story of one of the most controversial fights in the history of boxing and how, ultimately, Ali and Liston were controlled by others