JAMIE BRITTON recommends this fine analysis of the architectural, ecological and infrastructural destruction of the Gaza Strip
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Dangerous bedroom reverie
WILL STONE is left wanting more by an immersive show that is within reach of greatness but doesn't quite grasp it
An audience member explores Viola's room
[Julian Abrams]
NADIA JOSEPH welcomes a survey of the role that TV played in the debate over apartheid and race relations in Britain
New releases from Rosa Walton, Paul McCartney, and Aidan Thorne & Jason Ball
RON JACOBS welcomes a sharp, intelligent and witty exposé of the corruption and right-wing politics that have taken over international professional football
ALEX HALL welcomes the memoir of a prominent British academic of Ugandan/Zimbabwean heritage
JONATHAN TAYLOR reviews a collection of short stories wherein news - and the absence of news - changes lives
Viola’s Room
The Carriageworks, Woolwich
PUNCHDRUNK, the vanguard of immersive theatre, has made the giant Carriageworks (two former arsenal buildings in Woolwich) their headquarters since launching their last big work, The Burnt City, there in 2022.
The wildly ambitious and atmospheric production of The Burnt City, themed around the fall of Troy, saw punters donning masks as they followed any actors they chose around the cavernous site.
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ANGUS REID applauds the potential of an ambitious show about Gaza, and encourages it to keep its nerve
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
GEORGE FOGARTY is captivated by a brilliant one-man show depicting life in HMP Strangeways
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today