STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
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Sound and fury
GORDON PARSONS witnesses a production committed to great fun but signifying nothing
KNOCK KNOCK WHO'S THERE? Alison Peebles as the Porter
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
MARY CONWAY is disappointed by a star-studded adaptation of Ibsen’s play that is devoid of believable humanity
GORDON PARSONS is fascinated by a unique dream journal collected by a Jewish journalist in Nazi Berlin
Borrowed Time: Lennon’s Last Decade, Parthenope, Where Dragons Live and Thunderbolts* reviewed by MICHAL BONCZA and MARIA DUARTE
Macbeth
The Royal Shakespeare Theatre, Stratford-upon-Avon
THERE has long been an ongoing question at the RSC as to how to present Shakespeare to modern and, it is hoped, more youthful audiences.
There is a moment in Wils Wilson’s new production of Macbeth clearly indicating how we are encouraged to respond to this version of Shakespeare’s most profound treatment of the corrupting futility of ruthless ambition.
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