RICHARD MURGATROYD enjoys a readable account of the life and meditations of one of the few Roman emperors with a good reputation
Misbehavin’ brilliantly
MICHAL BONCZA sees a musical based on the music of Fats Waller that's about as good as it gets
Ebullient: Wayne Robinson and Carly Mercedes Dyer
[Pamela Raith]
ALEX HALL asks whether intelligence, and stupidity, are the outcomes of poverty and wealth, and cultural norms
BRENT CUTLER is persuaded by a new account of the rise of Christianity, and the fall of the Roman empire
If non-human nature is devoid of value under the capitalist mode of production, this book presents the case for its reintegration, suggests HENRY BELL
The Bard takes issue with a BBC portrait of The Balkans, and sets the record straight
ANGUS REID urges you to visit Britain’s most remarkable - and mind-blowing - festival of contemporary music
MARIA DUARTE reviews Desperate Journey, Blue Moon, Pillion, and Wake Up Dead Man: A Knives Out Mystery
Ain’t Misbehavin’
Southwark Playhouse, London
THE FIRST thing that hits you as you enter the horseshoe arena housing Ain’t Misbehavin’ are the onstage arches glittering with lights. A master stroke from designer Takis, they joyfully invoke the “Harlem Renaissance” of the 1920s when Fats Waller and Louis Armstrong were all the rage.
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