The bard pays homage to his two muses: his wife and his football club
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A jazz age ballet with dialogue
JAN WOOLF enjoys an imaginative revival of the Anton Chekhov classic
Beth Burrows as Anna
[Upstairs at the Gatehouse]
MARY CONWAY is disappointed by an incoherent show that fails to question stereotypical assumptions about the Soviet Union
JOHN McINALLY welcomes a rigorous class analysis of the history and exploitation of sectarianism by the Scottish ruling elite
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
DAVID MORGAN recommends a refreshingly inspiring novel that features encounters with some tremendous women
The Lady with a Dog
Upstairs at the Gatehouse
WHERE does Eros go when marriages bound by property rights and political facade throttle the libido? Or when love and commitment, rather than existing within one relationship, are found with different people?
Mark Giesser’s version of Chekhov’s famous short story The Lady with a Dog considers this in a time and context switch from Yalta 1899 to a Scottish resort in 1923. The interwar British jazz age.
Two married people holidaying alone, Anna and Damien, fall in love. The bloke has form in this regard, and Chekhov’s original looks at how tomcatting around can lead to the real thing and cause suffering for all concerned.
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'Witty and highly entertaining without being didactic,' writes JAN WOOLF