RITA DI SANTO draws attention to a new film that features Ken Loach and Jeremy Corbyn, and their personal experience of media misrepresentation
Best of 2019: London Theatre
VERY BEST: "Master Harold"... and the Boys
[Helen Maybanks]
JULIA TOPPIN recommends Patti Smith’s eloquent memoir that wrestles with the beauty and sorrow of a lifetime
MARJORIE MAYO welcomes an account of family life after Oscar Wilde, a cathartic exercise, written by his grandson
KEN COCKBURN guides us through a survey of Chekov’s early short fiction, and the groundwork it laid for his later masterpieces
ANDY HEDGECOCK revels in a hugely enjoyable but deadly serious examination of the 1930s, that is an indictment of our own era
The bard distills our hellish times into fiery words
THE YEAR began with a flurry of Arthur Miller productions which left his canon feeling surprisingly dated.
A sprinkling of stardust with Wendell Pierce and Sharon D Clarke could not fully re-energise the Young Vic’s Death of a Salesmen and the sense of anarchy in Jay Miller’s production of The Crucible at The Yard was more enigmatic than eerie.
The West End transfer of The Price packed the biggest punch of the impromptu season, with David Suchet's star turn as Jewish furniture dealer Gregory Solomon resurrecting Miller’s piercing critique of consumerist society.
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Mark Harvey pays tribute to a veteran of the days when the London building trade was a hotbed of working-class struggle, a legendary trade unionist, communist and poet
MARY CONWAY applauds the revival of a tense, and extremely funny, study of men, money and playing cards
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
Following his death a month ago, DENNIS WALDER assesses the achievement of the playwright who developed his work in the townships