SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
Attila the Stockbroker Diary: May 31, 2024
A shameless plug for Glastonwick festival, and a close shave at the Bar at the End of the World
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
SUMMER’s here, festival season’s here, and this weekend sees the one I have co-run for 29 years, Glastonwick, in the beautiful surroundings of Coombes Farm, West Sussex.
Our annual Beer, Music, Poetry & More Beer Festival: established in 1996 by co-founders beer guru Alex Hall, music/poetry co-ordinator yours truly and the late Roy Chuter, and based around a very simple idea, albeit one pioneering at the time.
It was the mid-1990s. I had performed at countless music festivals where the beer was the undrinkable urine of Satan and we had all attended vast quantities of beer festivals where it was a matter of iron principle that “the entertainment” had to start every song by informing the audience that they “woke up this morning” in a fake US accent.
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