RUTH AYLETT recommends two anthologies: one that bears witness to refugee and immigrant experiences, and the other to our political relationship to water
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GORDON PARSONS applauds a compelling dramatisation of the tortured process by which the 1997 conference failed to address global warming
SETH SANDRONSKY appreciates a fresh take on a 100-year-old novel that helps to contextualise the current moment of conspicuous wealth, waste and climate chaos
A no-nonsense ex-Garda female cop, Scandi-noir’s newest flawed hero, the lure of Aussie gold, and unexpected decency in Silicon valley
JAN WOOLF doubts that soft-core musical is the best way to transmit an important story of heroism and resistance
Reviews of Ella Fitzgerald, My Morning Jacket, and Toria Wooff
GORDON PARSONS admires a version of Marlowe’s grim tragedy that strips it down to its gay essentials
When Cassy’s father fails to connect with his daughter — and misses out on
an evening in the Bitter End — a stranger’s self-mocking charm brings seething resentment.
Kyoto
The Swan Theatre, Stratford-upon-Avon
ALTHOUGH they say they want the audience to feel hope, Joe Murphy and Joe Robertson’s docudrama revealing the machinations involved in the finally successful 1997 UN Cop3 (Conference of the Parties), a gathering of 192 countries struggling to agree on necessary actions to combat the menace of global warming, is both a celebration and a lamentation.
Cop29, due to take place in November, will have to face the fact that since that event, marking a rare moment of international accord, global emissions have soared. The major players, however, have apparently decided they can’t afford to do much about the potential Armageddon.
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