Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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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]
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
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.
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