Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Disjointed monster
SUSAN DARLINGTON isn’t convinced that the many parts of Frankenstein fit together in a new production
Georgia-Mae Myers and Nedum Okonyia in Frankenstein
[Ed Waring]
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
TWO hundred years after its publication, Mary Shelley’s Frankenstein still has the power to reflect contemporary fears and anxieties.
Poor Things, adapted from Alasdair Gray’s 1992 book, is currently box office gold at the cinema with its update of what it means to be human. Production company Imitating the Dog, meanwhile, has approached the gothic sci-fi classic with what it terms a “psychologically thrilling remake.”
The company has form in adapting standards, having previously staged a shot-for-shot recreation of George A Romero’s Night of The Living Dead, and Dracula: The Untold Story. These shows placed multimedia exploration at their heart, to thrilling and memorable effect.
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BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright
SUSAN DARLINGTON is bowled over by an outstanding play about the past, present and future of race and identity in the US
PAUL DONOVAN applauds an adaptation that draws out the contemporary relevance of George Orwell’s satire
SUSAN DARLINGTON is unmoved by a production full of spectacular tableax but without emotional connection to the characters