GLENN BURGESS suggests that, despite his record in Spain, Orwell’s enduring commitment to socialist revolution underpins his late novels
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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] 
CHRISTOPHER POLLARD explains how and why neoliberalism adopted the racist agenda common to the populist right of today
SYLVIA HIKINS recommends a sweeping survey of the world's biggest desert and the people who live there
GUILLERMO THOMAS is persuaded by a scathing critique of the Church of England and its embeddedness in imperialism
MARIA DUARTE and ANGUS REID review Materialists, Unmoored, Together, and Bambi: A Tale of Life in The Woods
TONY BURKE revels in the publication of previously unreleased tracks by the great US folksinger
GORDON PARSONS endures heavy rock punctuated by Shakespeare, and a delighted audience
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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MICHAL BONCZA recommends a compact volume that charts the art of propagating ideas across the 20th century
