The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
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Lack of edge disappoints
The play’s quaintness makes it an odd choice for innovative theatre, writes MAYER WAKEFIELD
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JOHN GREEN explores the argument that psychiatry needs to move away from the idea of just seeing and treating the individual
SYLVIA HIKINS applauds a polemic against “cleanfluencers” and considers radical alternatives to current inequalities of housework
RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
We Started to Sing
Arcola Theatre
DALSTON’S Arcola is one of London’s last fringe theatres to reopen its indoor space after two dark years.
They welcome back writer, and in this case also director, Barney Norris to his theatrical home, having had his debut Visitors and its follow-up Eventide staged in the old paint factory in the mid-2010s.
His latest work is perhaps the most evidently personal play I’ve ever seen. In it, he reimagines interactions between his parents and grandparents — “a study of the people whose lives led to mine,” as he writes in his intro.
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