STEPHANIE DENNISON and ALFREDO LUIZ DE OLIVEIRA SUPPIA explain the political context of The Secret Agent, a gripping thriller that reminds us why academic freedom needs protecting
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The Welkin, National Theatre London
Riveting and original exploration of women's lives in mid-18th century England
COMMANDING: Maxine Peake (second right) in The Welkin
[Brinkhoff-Moegenburg]
TONY BURKE speaks to producer and broadcaster LUCY DURAN about her new project — Guitari Baro
JONATHAN TAYLOR is intrigued how good storytelling can make a hobby as obsessional as metal detecting seem fascinating
ROB HARGREAVES is moved by the way that memories of the Spanish civil war still stir our passions
RON JACOBS sees similarities between the personality of the the Spanish Dictator Francisco Franco, and Donald Trump
RUTH AYLETT recommends this book if you want to learn how AI’s large language models work
THE MONOCHROMATIC, yet stylish, opening scene of a dozen women isolated in their daily drudgery in Lucy Kirkwood’s new play initially appears to be heading towards well-worn territory — the trial format of Twelve Angry Men.
But those brought together are a “jury of matrons” and their role is to decide whether the guilty woman in front of them is pregnant. If she is, she escapes the noose for transportation instead.
With only the nominal supervision of a muted court official, this eclectic group is temporarily released from daily oppressive routines to freely argue another woman’s fate.
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