Climate activist and writer JANE ROGERS introduces her new collection, Fire-ready, and examines the connection between life and fiction
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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]
ELEANOR DOBSON reflects on a stark visual record of the violent desecration of Tutankhamun’s mummified remains
RUTH AYLETT appreciates the rich blend of poetry and music that accompanied the launch of the Morning Star’s anthology of poetry, Who We Are
WANJA KIMANI explores the many bonds of community experience expressed in in the bold and colourful imagery of a new mural
New releases from Keeley, Lucinda Williams and Ye Vagabonds
JAN WOOLF ponders the works and contested reputation of the West German sculptor and provocateur, who believed that everybody is potentially an artist
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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MARY CONWAY is disappointed by characters so un-nuanced as to be unreal, a stereotypical plot and a conceptual vampire
MATTHEW HAWKINS appreciates an interpretation in dance of James Baldwin’s landmark novel of doomed homosexual desire
ANDY HEDGECOCK recommends two collections of short stories that use a single location to connect the narratives, and explore the limits of our ability to understand the world
PETER MASON points out that it takes more than a string of poppy power ballads to make a satisfactory drama