ALAN McGUIRE welcomes the complete poems of Seamus Heaney for the unmistakeable memory of colonialism that they carry
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How should a working class playwright be celebrated?
LEWIS FROST reports from an event to commemorate the late Edward Bond
(L) Edward Bond at the Théâtre National de la Colline, Paris, January 2001
[D. Tuaillon/CC/Public Domain]
GORDON PARSONS is fascinated by a musical — and questioning — survey of Shakespeare’s attitude to women
MATTHEW HAWKINS enjoys the work of reading the essays of a rigorous and leading London/Caribbean cultural participant
ALEX HALL appreciates the history of a famous shoot-out that is sourced from diaries, letters, and newspapers of the time
MARIA DUARTE recommends an extraordinary film that explores an absent father’s attempt to make up to his sons
JOHN GREEN, MARIA DUARTE and LEO BOIX review The Shepherd and the Bear, Hamlet, Twinless, and 100 Nights of Hero
A MEMORIAL for playwright Edward Bond took place at Park Theatre, Finsbury Park, on Sunday August 11. The aim was to create an act or action to commemorate the life of Edward Bond.
It was organised by Sam Fairbrother and Dex of the “Commission for New and Old Art” because nothing so far had been organised to commemorate the life of one of the country’s great playwrights.
Many of the attendees had some experience of acting or staging Bond’s work, but none of theatre’s grandees or the more recent writers inspired by Bond were present. Not that that was a surprise, as Bond’s biographer Tony Coult (one of the few who maintained a working relationship with Bond throughout his life) explained.
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