MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
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Miss Julie, Jermyn Street Theatre London
August Strindberg's febrile drama of class and sex conflicts gets an outstanding production
Power play: Charlotte Hamblin and James Sheldon in Miss Julie
New releases reviewed by IAN SINCLAIR
STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
MARY CONWAY is disappointed by a star-studded adaptation of Ibsen’s play that is devoid of believable humanity
SET on Midsummer’s Eve in Sweden— a time for partying, rule-breaking and indulging in the forbidden — August Strindberg described his 1888 play Miss Julie as “a naturalistic tragedy.”
Immersed in a world where the lower orders and the ruling classes co-exist in a seemingly perpetual dependency, his most popular work homes in on a fateful night in an aristocratic home, where madness is in the air and the servants revel in abandon.
During it, the upper-class Miss Julie — in a story that almost tells itself — rocks the social code to its foundations when she seduces the handsome valet Jean.
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MARY CONWAY is disappointed by a star-studded adaptation of Ibsen’s play that is devoid of believable humanity
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MARY CONWAY relishes two matchless performers and a masterclass in tightly focused wordplay
