SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
Bourgeois voyeurism
HENRY BELL steps warily through the collection of a Glaswegian war profiteer to experience his collection of Degas’ remarkable images of working people
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
Discovering Degas: Collecting in the Time of William Burrell
The Burrell Collection, Glasgow
[[{"fid":"66077","view_mode":"inlineleft","fields":{"format":"inlineleft","field_file_image_alt_text[und][0][value]":"Edgar Degas, L'Absinthe, 1875-1876 // Credit: Photo (c) RMN-Grand Palais (Musée d'Orsay) Adrien Didierjean","field_file_image_title_text[und][0][value]":false},"link_text":null,"type":"media","field_deltas":{"1":{"format":"inlineleft","field_file_image_alt_text[und][0][value]":"Edgar Degas, L'Absinthe, 1875-1876 // Credit: Photo (c) RMN-Grand Palais (Musée d'Orsay) Adrien Didierjean","field_file_image_title_text[und][0][value]":false}},"attributes":{"alt":"Edgar Degas, L'Absinthe, 1875-1876 // Credit: Photo (c) RMN-Grand Palais (Musée d'Orsay) Adrien Didierjean","class":"media-element file-inlineleft","data-delta":"1"}}]]THE Burrell Collection is an extraordinary museum not only because of its stunning and sensitively refurbished building — sheer glass and sandstone set amid lush Scottish woodland in the heart of Glasgow’s Southside — but also because of its focus.
The Burrell is not arranged around any theme, period, school or medium but instead has as its organising principle the taste of a single turn of the 20th century Glaswegian capitalist.
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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.
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ANGUS REID applauds the inventive stagecraft with which the Lyceum serve up Stevenson’s classic, but misses the deeper themes
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