SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
Scotland the black
JOE JACKSON explores how growing up black amid ‘the quiet racism of Scotland’ shaped the art and politics of Maud Sulter
PAUL FOLEY recommends an extraordinary double bill that packs a punch and leaves you reeling
MARY CONWAY is disappointed by a play about AI that results in a deadening disconnect for its audience
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
MATTHEW HAWKINS pays tribute to the performance artist and costumier, Leigh Bowery
SIMON DUFF reviews a new composition by German composer and pianist Florian Weber that blurs the line between where improvisation ends and composition begins
New releases from The Jim Mullen Quartet, Caroline Kraabel/John Edwards, and Matthew Muneses/Riza Printup
Maud Sulter – You are my kindred spirit
Tramway, Glasgow
SHE was one of the first chroniclers of the modern experience of being black in Scotland. The daughter of a Scottish mother and Ghanaian father growing up in 1960s and 1970s Glasgow, Maud Sulter experienced first-hand the racism of the period. That experience strongly registered in her art, writing, poetry and photography, informing her lifelong commitment to anti-colonial politics and the amplification of black voices – particularly women – marginalised or forgotten by history.
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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
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