RITA DI SANTO draws attention to a new film that features Ken Loach and Jeremy Corbyn, and their personal experience of media misrepresentation
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1927 Theatre Company’s innovative style of narrative charms and entertains in equal measure
JULIA TOPPIN recommends Patti Smith’s eloquent memoir that wrestles with the beauty and sorrow of a lifetime
MARJORIE MAYO welcomes an account of family life after Oscar Wilde, a cathartic exercise, written by his grandson
KEN COCKBURN guides us through a survey of Chekov’s early short fiction, and the groundwork it laid for his later masterpieces
ANDY HEDGECOCK revels in a hugely enjoyable but deadly serious examination of the 1930s, that is an indictment of our own era
The bard distills our hellish times into fiery words
Edinburgh Festival
Roots
The Church Hill Theatre
★★★★
“A RATHER ragtag collection of folk jokes and stories” presented in “a combination of live music, pre-recorded stories voiced by non-actors, animation, acting and live dialogue.”
Writer Suzanne Andrade’s description of her production hardly captures what must be one of the most joyous shows in this year’s Edinburgh Festival.
The award-winning 1927 Theatre Company’s innovative style of melding images, reminiscent of black and white silent films — the company’s name gives a clue — with back and front projections, “colour” added by the marionette-like live performers, charms all but the most sophisticatedly resistant audiences back to the delights of childhood.
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