KEN COCKBURN assesses the art of Ian Hamilton Finlay for the experience of warfare it incited and represents
Nightmare in the sun
MAYER WAKEFIELD finds himself caught in the crossfire during a riveting piece of activist theatre
IS THERE AN IMPERIALIST IN THE ROOM? Davinia Hamilton in Blanket Ban
The bard gives us advance notice of his upcoming medieval K-pop releases
GORDON PARSONS steps warily through the pessimistic world view of an influential US conservative
HENRY BELL takes issue with the assertion that basic income is a remedy for poverty when it doesn’t address the inbuilt inequality of capitalism
RON JACOBS welcomes an investigation of the murders of US leftist activists that tells the story of a solidarity movement in Chile
RITA DI SANTO surveys the smorgasbord of films on offer at this year’s festival
Reviews of A New Kind Of Wilderness, The Marching Band, Good One and Magic Farm by MARIA DUARTE, ANDY HEDGECOCK and MICHAL BONCZA
Blanket Ban
Southwark Playhouse
BLANKET BAN is as much activism as it is theatre.
Marta Vella and Davinia Hamilton, two Maltese Londoners, have created a startling call to action for abortion rights which is funny, illuminating, a little uneven and at points devastating.
With some of the most liberal social laws in Europe, 300 days of sunshine and a “party all the time” attitude to life, the Mediterranean island of Malta is initially painted as a paradise. That illusion is quickly shattered for one member of the audience in particular — this sheepish reviewer himself — who is jokingly chastised for Britain’s 150-year colonial rule.
More from this author
MAYER WAKEFIELD laments the lack of audience interaction and social diversity in a musical drama set on London’s Underground
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
MAYER WAKEFIELD wonders why this 1978 drama merits a revival despite demonstrating that the underlying theme of racism in the UK remains relevant
MAYER WAKEFIELD speaks to playwright Richard Bean about his new play Reykjavik that depicts the exploitation of the Hull-based “far-fleet” trawlermen
