Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
Latest editorial
Thriller fails dramatically in mountain ascent
Escapees: Hasan Dixon and Katie Elin-Salt
[Jonathan Keenan]
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
Black Mountain
Orange Tree Theatre, Richmond-upon-Thames
BUILDING dramatic tension is not an easy skill for a playwright to master. Just a word or two, or even a pause, in the wrong place can puncture long spells of hard-earned unease.
In Brad Birch's latest play it is not so much his delicately crafted and intriguing wordplay that bursts the bubble but the deflating lack of substance behind it.
James Grieve's minimalist in-the-round production utilises just a ring of light and a collection of shrill sounds to illuminate the story of a murky love triangle.
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MARY CONWAY relishes two matchless performers and a masterclass in tightly focused wordplay
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
MAYER WAKEFIELD speaks to playwright Richard Bean about his new play Reykjavik that depicts the exploitation of the Hull-based “far-fleet” trawlermen
MARY CONWAY admires a vivid, compassionate portrait of a father and daughter pinioned in the criminal underclass