SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
Attila the Stockbroker Diary: June 14, 2024
We must use our collective power, urges the Morning Star’s very own troubadour, to save Britain’s grassroots music venues
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
THIS week’s column starts with a paean of praise for the indefatigable and inspiring Mark Davyd and the Music Venue Trust (MVT), which has just launched a Manifesto For Grassroots Music as part of the build-up to the July 4 election.
It is sending the policy proposal document, linked below, to every prospective MP in every constituency, outlining how we can all work together to save live music for future generations by protecting, securing and improving Britain’s grassroots music venues.
These are under threat as never before from a perfect storm of issues, ranging from greedy property developers, to indifferent local councils, to increasing audience reluctance since Covid to buy tickets in advance — essential for budgeting at that level.
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
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