The bard gives us advance notice of his upcoming medieval K-pop releases
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Routine delinquency
MARY CONWAY admires an accomplished drama that explores the consequences of a fatal punch on a desolate housing estate
LOOKING FOR JUSTICE: David Shields as Jacob Dunne in Punch
GORDON PARSONS steps warily through the pessimistic world view of an influential US conservative
HENRY BELL takes issue with the assertion that basic income is a remedy for poverty when it doesn’t address the inbuilt inequality of capitalism
RON JACOBS welcomes an investigation of the murders of US leftist activists that tells the story of a solidarity movement in Chile
RITA DI SANTO surveys the smorgasbord of films on offer at this year’s festival
Reviews of A New Kind Of Wilderness, The Marching Band, Good One and Magic Farm by MARIA DUARTE, ANDY HEDGECOCK and MICHAL BONCZA
SCOTT ALSWORTH foresees the coming of the smaller, leaner, and class conscious indie studio, with art as its guiding star
Punch
Young Vic
PUNCH lands at the Young Vic with all flags flying.
Commissioned by Nottingham Playhouse where it premiered last May to glowing reviews, it must, of necessity, make its mark in the capital. As another blazing new hit from the sensationally successful James Graham and as a fine-tuned production from director Adam Penford (also artistic director of the Nottingham Playhouse), it fixes on a true local story and packages it impeccably.
The tale tells of one Jacob Dunne who — on a relatively routine delinquent night out — threw a punch at a young trainee paramedic, accidentally causing his death. What seems to result in devastation for all, finds new and unexpected hope for Jacob and the dead man’s parents as they pick themselves up, cross the divide and commune with one another.
Similar stories
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PETER MASON shivers in the under-heated ecclesiastical setting of a concert featuring five 19th-century French composers
MARY CONWAY feels the contemporary resonance of a new play set amid the manic and self-destructive patriotism of the McCarthy era
PETER MASON appreciates the songs and spectacle but misses attention-grabbing intrigue in Sarah Ruhl’s adaptation of the US movie