EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
Hellishly good
SIMON PARSONS sees a brilliant musical reworking of Greek myth at the National Theatre which chimes with the Trump era
Oratory of the oppressed: Hadestown
[Helen Maybanks]
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
JOHN GREEN relishes a powerful and moving drama that explores the lived realities of west London’s Punjabi community
MARTIN HALL welcomes a plea for greater compassion between believer and non-believer via the framework of philosophical enquiry
Hadestown
National Theatre, London
TWELVE years in the shaping, Anais Mitchell’s musical, drawing on jazz, blues, soul and folk, proves remarkably prescient and her collaboration with director Rachel Chavkin has produced a stunning piece of theatre.
Similar stories
SIMON PARSONS applauds the timely revival of a play about solidarity and betrayal within Britain’s Pakistani community
New releases from Old Spot, Chris Marksberry, and Clementine Lovell
SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
