GUILLERMO THOMAS recommends an important, if dispiriting book about the neo-colonial culture of Uganda under Yoweri Museveni
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Wonderland, Hampstead Theatre London
Powerful reminder of the war against the miners in 1984-85
SUSAN DARLINGTON applauds the sensuality and strong characterisation of an unconventional ballet about an unconventional woman
BRENT CUTLER admires the plotting but takes issue with the politics of a new Scottish crime thriller
Tyrannosaurs in Thailand, colonialism as videogame, and a feminist gem from 1936
PAUL FOLEY steps gingerly through an exhibition that purports to show east and south-east Asian culture, and questions its intentions
New releases from Alex Wilson and Omar Rios Melendez, Hello Cosmos, and Harry Christelis
BETH STEEL'S Wonderland, the second of Hampstead Theatre’s trio of free online productions, was originally performed in 2014.
Even then, its hard-hitting political message — presented through a mixture of song and documentary commentary — must have reminded those with long memories of John McGrath’s innovatory 7:84 touring company of the 1980s.
Dealing with Thatcher’s carefully pre-planned and ruthless 1984-85 war against the miners, Edward Hall’s production takes us down the pit, where we meet the Iron Lady’s “enemy within” — the men who worked in an environment and under conditions that for most people would be viewed as a daily hell.
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MIKE QUILLE applauds an excellent example of cultural democracy: making artworks which are a relevant, integral part of working-class lives
In this production of David Mamet’s play, MARY CONWAY misses the essence of cruelty that is at the heart of the American deal
MARY CONWAY is disappointed by characters so un-nuanced as to be unreal, a stereotypical plot and a conceptual vampire