STEVE JOHNSON recommends a protest album with a harder edge than many in the genre
A production that misses the mark on many levels
Political tirades, prophetic end-of-world visions, broad, sit-com style humour and trite caricatures do not blend, writes SIMON PARSONS
SPECTACULAR STORM: Owen McDonnell (Pete) in Manor
[Manuel Harlan] 
DENNIS BROE finds much to praise in the new South African Netflix series, but wonders why it feels forced to sell out its heroine
CARL DEATH introduces a new book which explores how African science fiction is addressing climate change
In his second round-up, EWAN CAMERON picks excellent solo shows that deal with Scottishness, Englishness and race as highlights
Fiery words from the Bard in Blackpool and Edinburgh, and Evidence Based Punk Rock from The Protest Family
MATTHEW HAWKINS is mesmerised by a performance that dissolves the line between audience and performer
MATTHEW SHARPE recommends the essays of a Renaissance politician that instruct and unnerve after 400 years
Manor
Lyttelton Theatre
MIX together an insolvent, forthright lady of the manor, a drugged-up former pop star, a blind anti-feminist revisionist historian, a supposedly charismatic far-right leader, a hypochondriac slob, a radical black working-class student and her would-be detective, medically trained mother and throw in a dash of aged vicar in underpants and pink fluffy jumper and you might expect a revival of the Carry On tradition.
Put all these ingredients in a physically skewed Restoration manor house on the point of being washed away in a storm of biblical proportions and throw in a dead body and a pinch of ghostly sound effects for seasoning and expectations might slide towards gothic horror or political allegory.
Moira Buffini’s play is none of these.
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