SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
The mother, the daughter, her lover and their poet
SIMON PARSONS marvels at a production of Williams’s early masterpiece that transforms the play into a symbolic slow dance of tensions, fears and desires
ALL IN THE MIND: Zacchaeus Kayode, Natalie Kimmerling, Geraldine Somerville and Kasper Hilton-Hille in the Glass Menagerie
[Marc Brenner]
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
The Glass Menagerie
Bristol Old Vic
STRIPPED of all the 1930s scenic clutter, most naturalistic productions of Tennessee Williams’s first successful play usually embrace, Atri Banarjee’s dynamically rejuvenated version takes the opening monologue as its lodestone — “a memory play” that is “not realistic” and where “everything happens to music.”
Rosanna Vize’s bare, tilted, dance floor-like stage with central column and illuminated, rotating PARADISE sign above allows movement director, Anthony Missen to turn the play into a symbolic slow dance, emphasising the tensions, fears and desires of the characters locked in their own claustrophobic worlds.
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SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
SIMON PARSONS is swept away on the running tide of a dynamic new version of Hans Christian Andersen’s fairy tale
SIMON PARSONS applauds a moving version of Ishiguro’s vision of a world in which science and ethics have diverged