MATTHEW HAWKINS relishes the valiant defiance of two gay Scottish painters whose example resists both collectors’ taste and historical fiction
Albion, Almeida Theatre London
State of the nation takes root in an English country garden
EXCELLENT: Victoria Hamilton as Audrey in Albion
[Marc Brenner]
Essays on contemporary Latin American feminism, a poetry debut by a queer Texan of Mexican heritage, and a lush volume of tango and milonga drawings
JOHN McINALLY welcomes a rigorous class analysis of the history and exploitation of sectarianism by the Scottish ruling elite
The bard pays homage to his two muses: his wife and his football club
MARY CONWAY is disappointed by an incoherent show that fails to question stereotypical assumptions about the Soviet Union
WILL STONE, JAMES WALSH and MARIA DUARTE review Souleymane’s Story, Sunlight, Good Fortune, and After The Hunt
THIS fine play from Mike Bartlett is wonderful theatre.
As the audience settles around the protruding set of a country garden, a first world war soldier wanders around the lawn and, picking up the soil of his country, inhales it like dope — a metaphor for what’s to come.
Enter 21st-century Audrey (Victoria Hamilton) who has left her business life in London to return and live in the place which has nostalgic connections with her childhood — its seductive comforts and reluctance for change — despite her constantly professing its importance.
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MARY CONWAY revels in the Irish American language and dense melancholy of O’Neill’s last and little-known play
This is poetry in paint, spectacular but never spectacle for its own sake, writes JAN WOOLF
'Witty and highly entertaining without being didactic,' writes JAN WOOLF