MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
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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
Eros
The White Bear, Kennington
AS EVER, the London fringe is awash with new plays, with most under-resourced and some derivative.
But many are packed with creative energy and a passion for topical issues and one such is Kevin Mandry’s intense and thought-provoking three-hander Eros. Unlike now, when online imagery and thinking shapes our lives, the play is set in the mid-90s when the internet, in its infancy, was only a shadow of what is to come.
While it may look at first glance like a simple “Me Too’ story, it goes beyond the casual abuse of women to explore the terrible impact on men who seek only perfection and gratification to the detriment of any real and loving relationships.
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MARY CONWAY relishes two matchless performers and a masterclass in tightly focused wordplay
