RUTH AYLETT recommends two anthologies: one that bears witness to refugee and immigrant experiences, and the other to our political relationship to water
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An error occurred while searching, try again later.Ambitious political satire
GORDON PARSONS applauds one of those few brave plays to confront the politics of our world head on
SETH SANDRONSKY appreciates a fresh take on a 100-year-old novel that helps to contextualise the current moment of conspicuous wealth, waste and climate chaos
A no-nonsense ex-Garda female cop, Scandi-noir’s newest flawed hero, the lure of Aussie gold, and unexpected decency in Silicon valley
JAN WOOLF doubts that soft-core musical is the best way to transmit an important story of heroism and resistance
Reviews of Ella Fitzgerald, My Morning Jacket, and Toria Wooff
GORDON PARSONS admires a version of Marlowe’s grim tragedy that strips it down to its gay essentials
When Cassy’s father fails to connect with his daughter — and misses out on
an evening in the Bitter End — a stranger’s self-mocking charm brings seething resentment.
The New Real
The Other Place, Stratford-upon-Avon
SINCE his ground-breaking Destiny in 1976, exploring the complexities underlying the BNP surface of British fascism, there is an air of excited expectancy when David Edgar presents another of his epic dramatic analyses of the political scene.
Just as in his latest book, The Populist Right, examining the current explosion of right-wing movements throughout Europe, The New Real engages with the shift in the political tectonic plates throughout the continent.
More from this author
The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
ANGUS REID deconstructs a popular contemporary novel aimed at a ‘queer’ young adult readership
A landmark work of gay ethnography, an avant-garde fusion of folk and modernity, and a chance comment in a great interview
ANGUS REID applauds the inventive stagecraft with which the Lyceum serve up Stevenson’s classic, but misses the deeper themes