Jimmy watches Countdown and tries to ignore his bills, grief, COPD and frailty. Meanwhile, his carer walks a tightrope between kindness and reality
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Pride and Prejudice* (*sort of), Leeds Playhouse/Touring
Jane Austen goes pop in raucous rendition of one of her greatest hits
JOHN FLINT explores the Appleby Blue development, winner of the Stirling prize 2025
GORDON PARSONS enjoys the wealth of wisdom and the clarity of expression from a dialogue between Chomsky and Mujica
GUILLERMO THOMAS enjoys a survey of the current state of the CIA (aka Langley) from an expert and insider of sorts
MARIA DUARTE, FIONA O CONNOR and JOHN GREEN review The Choral, Belen, Dragonfly, and Colossal Wreck
WILL STONE is frustrated by a performance that chooses to garble the lyrics and drown the songs in reverb
RITA DI SANTO points out the social experience of exploitation and oppression that inform the popular winners at this year’s festival
BELOW-STAIRS maids never get placed centre stage, even though there can be no romance without clean sheets and that’s the premise of Glasgow-based Blood of the Young’s adaptation of Pride and Prejudice.
HAVING FUN: The cast of Pride and Prejudice* (*sort of) (Pic: Mihaela Bodlovic)
It’s a slightly misleading framing of Isobel McArthur’s update of Jane Austen’s novel, which only gives superficial attention to the servants. Yet, directed by Paul Brotherston, it’s nonetheless a delightfully raucous production that swaps the book’s ironic politeness for direct, expletive-rich humour.
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