SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
Attila the Stockbroker Diary: December 14, 2024
The bard fumes at inaccurate nomenclature and picks his musical highlights of 2024
PAUL FOLEY recommends an extraordinary double bill that packs a punch and leaves you reeling
MARY CONWAY is disappointed by a play about AI that results in a deadening disconnect for its audience
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
MATTHEW HAWKINS pays tribute to the performance artist and costumier, Leigh Bowery
SIMON DUFF reviews a new composition by German composer and pianist Florian Weber that blurs the line between where improvisation ends and composition begins
New releases from The Jim Mullen Quartet, Caroline Kraabel/John Edwards, and Matthew Muneses/Riza Printup
WONDERFUL time on tour for the last few weeks: West Midlands, Scotland, Germany, East Midlands. Time and tide wait for no-one, and they caught up with me recently on the front page of the Isle of Bute News following my gig there. It was very well-intentioned and complimentary but the headline chilled me to the core.
“Veteran comedian wows Rothesay crowd”
Now, I am not a fan of either the V or C words, and to see them combined in such a way was too much.
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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
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