JAMES WALSH is moved by an exhibition of graphic art that relates horrors that would be much less immediate in other media
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Oleanna, Arts Theatre London
David Mamet’s play on the power games between men and women as relevant today as when first performed 30 years ago
IMMACULATELY CONTROLLED: Jonathan Slinger and Rosie Sheehy in Oleanna
RON JACOBS welcomes the translation into English of an angry cry from the place they call the periphery
GUILLERMO THOMAS recommends a useful book aimed at informing activists with local examples of solidarity in action around the world
HENRY BELL is provoked by a book that looks toward, but does not fully explore the question of who gets to imagine the shapes of cities to come
MATTHEW HAWKINS surveys the upcoming programme of contemporary dance in Glasgow, and picks some highlights
‘Chance encounters are what keep us going,’ says novelist Haruki Murakami. In Amy, a chance encounter gives fresh perspective to memories of angst, hedonism and a charismatic teenage rebel.
OLEANNA has a simple scenario. John holds down a comfortable academic post in a higher education establishment and is engaged in what appears to be a routine tutoring session with Carol, a seemingly innocuous female student.
He acts like he’s done this a million times and is sitting pretty — a recent promotion enabling him to buy a new upmarket house, adding to life’s sweetness.
But Carol is about to upset the apple cart. While she presents initially as a naive, struggling wannabe, a certain defiance in her tone and posture suggests a different agenda. Carol’s weapon is her identity. A female, self-proclaimed socio-economic underling, a beginner in a world of experts and with an unclear sexual proclivity, her life experience is a million miles from John’s.
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