RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
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Nazi loot
SIMON PARSONS is spellbound by abrupt changes from tragedy to farce in Mayenburg’s dark comedy about the long shadow of German history
nazi loot
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
New releases from The Tenementals, Nik Bartsch’s Ronin, and Kuunatic
SCOTT ALSWORTH hears the call to burn down and rebuild the video game industry from the bottom up
The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
Nachtland
Young Vic, London
THIS thought-provoking and highly entertaining play is startlingly original. Employing a broad range of dramatic styles, Marius Von Mayenburg’s German play tackles a range of political and social issues linked by a discussion on the value of art and its relationship to the observer.
Nicola (Dorothea Myer-Bennett) and Philipp (John Heffernan) are in the process of clearing out the worthless contents from the crumbling home of their recently deceased father when they come across a 1920s Viennese watercolour.
Their amusing, childish bickering switches to an argument on the painting’s subject and style before their spouses discover that the picture might have been painted by Adolf Hitler.
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