GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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Wizardry in Peckham at the centre of the capital’s theatrical innovation
OSTENTATIOUS: (L to R) Amy Bianchi as Cyri, Ashleigh-Mae Schoburgh-Crooks as Efe and Khariis Ubiaro as Mane Man
[Lidia Crisafulli]
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
The Wonderful
Theatre Peckham, London SE5
THEATRE Peckham is quickly becoming one of my favourite venues for new shows; a community-based theatre in the heart of south-east London, giving a space to the independent, political voices and productions demanding social change. A place which “champions underrepresented voices and leads the change that is influencing our sector,” so its website says.
And what better way to celebrate the holiday season with a much-needed update on the firm family favourite, The Wonderful Wizard of Oz? This time around this reimagined adaptation of L Frank Baum’s classic tale starts off in modern-day Peckham, the Tinman is a Cyborg and Toto the dog is called TikTok. I imagine that scriptwriter Geoff Aymer and director Suzann McLean had a lot of fun with this one.
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BEN COWLES samples the many sonic and social therapies of Manchester Punk Festival 2026, and is ready again to smash capitalism
JAN WOLF enjoys a British revival of the 1972 come of age farce/panto Pippin
DAVID NICHOLSON is thrilled – and shocked – by an opera that seethes and sizzles with passion and the depraved use of power
This is a concert of ambition and courage by organist and improviser Wayne Marshall, says SIMON DUFF