ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
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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
12. (L-R) John Heffernan, Dorothea Myer-Bennett, Jenna Augen, Jane Horrocks, Angus Wright in Nachtland
SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
MICK McSHANE rubs shoulders with Mod legend Steve Craddock and joins in with the joyous Glasgow choir
DENNIS BROE sifts out the ideological bias of the newest TV series offerings, and picks out what to see, and what to avoid
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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