Three great releases of lost concerts by Duke Ellington Orchestra, John Taylor & Stan Sulzman, and Joe Henderson
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Lenny Henry’s finest hour
MARY CONWAY marvels at a charismatic performance that demonstrates the plight of the Windrush generation
COMIC BRILLIANCE: Lenny Henry in 'August in England'
[Tristram Kenton]
To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
August in England
Bush Theatre, London
IF anyone can command a stage as effortlessly as Lenny Henry, I’d like to know who.
Charm, versatility, mercurial transformation, comic brilliance and open-hearted audience rapport mark out this consummate actor as one of the safest bets for a one-man show you could possibly imagine.
In this, his debut play, Henry holds an adoring audience in the palm of his hand for 90 minutes and the Bush Theatre buzzes with life.
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MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
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