ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
Latest editorial
Campaigning and performing
LYNNE WALSH deplores how laudable commitments to battling discrimination have displaced the fight against women's sex-based oppression
Rebecca Hyde in The Last One by Zoe Alker, 2024
[Steve Gregson]
KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
MICHAL BONCZA recommends a minimalist installation that prompts intriguing connotations
FIONA O’CONNOR questions the achievement of this year’s Orwell prize winner for political fiction
LEO BOIX reviews two powerful Latin American novels in which myth and crime fiction expose the deadly consequences of patriarchy, clandestine abortion and state violence
New releases from Laura Veirs, The Waterboys, and Yard Act
Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
Feminist Theatre Then & Now
Edited by Cheryl Robson
Aurora Metro, £16.99
MEMORIES of the heady days of women’s theatre in the ’70s and ’80s recall the provocative and edgy nature of the genre.
The clues are in the names of some of the troupes: Sensible Footwear, Cunning Stunts, Scarlet Harlots, Monstrous Regiment, Beryl and the Perils, Theatre of Black Women, Clean Break, Sadista Sisters, Lip Service, and The Chuffinelles. The latter included the late and truly great Linda Smith.
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