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ENGLAND TILL I DIE: Rafe Spall as Michael
[Helen Murray]
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
ALEX HALL recommends an exhaustive investigation of the means by which the Starmer faction assassinated the left
IN THIS solo tour-de-force from actor Rafe Spall, Michael is an estuary lad on a rolling boil of nervous energy.
With clipped strut and barely comprehensible speech he makes his entrance on to a set which, akin to a cockpit, resembles the cross of St George. Red against white, it evokes a wound as well as a symbol of national pride.
You wouldn’t want to meet Michael if he was pissed or if Leyton Orient were losing — he’s volatile enough sober. But Michael is in crisis and the layers of his persona and raw intelligence are stripped back as he recalls his father’s death while watching England’s last World Cup effort.
MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth
JAN WOOLF finds out where she came from and where she’s going amid Pete Townshend’s tribute to 1970s youth culture
JOHN WIGHT previews the much-anticipated bout between Benn and Eubank Jnr where — unlike the fights between their fathers — spectacle has reigned over substance
