Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
Light Falls, Royal Exchange Theatre Manchester
Missed opportunity to shed light on complex northern realities
In meltdown: David Moorst as Steven in Light Falls
[Manuel Harlan]
ANGUS REID considers the power of the podcast as a vehicle for consensus building in opposition to mainstream media narratives
GLENN FOSBRAEY recommends a biography worth reading for both existing George Michael fans and those yet to be converted
FRANCIS DEVINE introduces a new collection of essays that draws on Pease McKenna’s example to indicate future paths for the movement
KEVIN DONNELLY and MARIA DUARTE review Shoot the People, The Last One For The Road, Rosebush Pruning, and Moana
JAMES WALSH recommends an exceptional documentary about the experience of Western doctors in Gaza
SIMON STEPHENS’S new play marks the last production from the Royal Exchange’s artistic director Sarah Frankcom before she takes over the reins at LAMDA drama school.
One of the country’s finest directors, she has reshaped the Exchange into a theatre with international renown and over the past decade her innovative work, especially wonderful collaborations with Maxine Peake, have thrilled audiences.
That’s not necessarily the case with Light Falls, inspired by a road trip she took in 2016 with Stephens across the north of England, visiting Warrington, Blackpool, Ulverston, Doncaster and Durham.
Similar stories
PAUL FOLEY revels in the coolest, most joyful piece of theatre you’ll get this summer
The creative imagination is a weapon against barbarism, writes KENNY COYLE, who is a keynote speaker at the Manifesto Press conference, Art in the Age of Degenerative Capitalism, tomorrow at the Marx Memorial Library & Workers School in London
RITA DI SANTO gives us a first look at some extraordinary new films that examine outsiders, migrants, belonging and social abuse
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today