No excuses can hide the criminal actions of a Nazi fellow-traveller in this admirably objective documentary, suggests MARTIN HALL
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
12. (L-R) John Heffernan, Dorothea Myer-Bennett, Jenna Augen, Jane Horrocks, Angus Wright in Nachtland
PAUL DONOVAN relishes a fascinating exploration of the leading lights of the Labour right in the 1970s
BEN LUNN alerts us to the creeping return of philanthropy and private patronage, and suggests alternative paths to explore
A novel by Argentinian Jorge Consiglio, a personal dictionary by Uruguayan Ida Vitale, and poetry by Mexican Homero Aridjis
MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
New releases reviewed by IAN SINCLAIR
STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
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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MARY CONWAY admires an accomplished drama that explores the consequences of a fatal punch on a desolate housing estate
SIMON PARSONS is swept away on the running tide of a dynamic new version of Hans Christian Andersen’s fairy tale
MARY CONWAY applauds a worthy revival of the US 1939 classic drama that studies the dehumanising consequences of affluence
PETER MASON appreciates the songs and spectacle but misses attention-grabbing intrigue in Sarah Ruhl’s adaptation of the US movie