A novel by Argentinian Jorge Consiglio, a personal dictionary by Uruguayan Ida Vitale, and poetry by Mexican Homero Aridjis
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Carry on up the Piccadilly Line
MAYER WAKEFIELD laments the lack of audience interaction and social diversity in a musical drama set on London’s Underground
Natasha Vasandani, Sam Rees-Baylis (James) and Jimmy Bryant in Cockfosters / Pic: Marshall Stay
MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
New releases reviewed by IAN SINCLAIR
STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
Cockfosters
Southwark Playhouse, London
★★★
NAMING your show about the London Underground after one of its most naughtily christened stations is a sure-fire clue that a no-holds-barred send-up of the world’s oldest underground railway awaits.
Tom Woffenden and Hamish Clayton’s Cockfosters delivers wholeheartedly on its promise to try and squeeze every laugh possible out of an excursion down the Piccadilly Line with strangers James (Sam Rees-Baylis) and Tori (Beth Lilly).
Both returning to Heathrow from very different escapades — yoga and Jager in Mexico for her and heartbreak in Venice for him — they find common ground amid the madness of the Tube.
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