GORDON PARSONS is bowled over by a skilfully stripped down and powerfully relevant production of Hamlet
Images of inconsolable grief
MATT KERR suggests an exhibition that reflects the human cost of deaths in custody should picket every centre of state power in the UK
In which we accompany the Bard into Cymru to meet his musical accomplices, young and old
SUE TURNER is inspired by the example of a librarian’s struggle to confront the book-banning movement
ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement
The Star's critic MARIA DUARTE reviews I Am Martin Parr, September Says, The Monkey, and The Gorge
RITA DI SANTO applauds a touching and witty opener that touches a hot topic in Germany: the future of the immigrant population
SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
SoulsINQUEST
Platform, Glasgow
THE state isn’t generally shy about building memorials to the glorious dead.
In every town in the land we can find plaques, stone crosses signifying the vast loss of life in war through the years, and even in older workplaces you can still find some built to remember the waste of humanity if you look hard enough and they’ve been spared the wrecking ball.
More from this author
The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
ANGUS REID deconstructs a popular contemporary novel aimed at a ‘queer’ young adult readership
A landmark work of gay ethnography, an avant-garde fusion of folk and modernity, and a chance comment in a great interview
ANGUS REID applauds the inventive stagecraft with which the Lyceum serve up Stevenson’s classic, but misses the deeper themes
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MARJORIE MAYO recommends an exhibition that asserts Palestinian history, culture and creativity in the face of strategies to erase them
LYNNE WALSH applauds a show of paintings that demonstrates the forward strides made by women over four centuries
HENRY BELL steps warily through the collection of a Glaswegian war profiteer to experience his collection of Degas’ remarkable images of working people
