MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
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Twilight in the Crypt
Glasgow Cathedral Festival 2021
in concert
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
MARY CONWAY is disappointed by a production that panders – if inadvertently – to Western prejudice against China
JOHN GREEN is fascinated by a history that excavates the enormous role played by agricultural workers in recent times
ALEX HALL recommends a book that places empirical evidence at the heart of understanding racism
Explore Ensemble
(with Lotte Betts Dean):
Suspended Animation
THE second concert of the Glasgow Cathedral Festival was an incredibly moving and hypnotic affair. The two composers Lawrence Dunn and Catherine Lamb have been ascending to stardom at a rate of knots, so to have the chance to have a dedicated performance in the mysterious magic of the cathedral crypt was already the makings of a wonderful night.
Dunn’s Sentimental Drifting Music did exactly what it said on the tin, but thanks to his skills as composer never drifted into new age cliches. Moments of completed “cadences” would fall away while the crypt rang out with the lingering tones.
Lamb’s Parallaxis Forma had the joy of a most professional and profound British premiere, with the star, Lotte Betts-Dean, showing her skills and prowess with the fewest of tones.
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