JAMES WALSH is moved by an exhibition of graphic art that relates horrors that would be much less immediate in other media
Latest editorial
Searching for your inner Arthur Miller
MAYER WAKEFIELD speaks to playwright David Edgar about the political analysis that underlies his two new plays
(L) Shaun Evans as Kazan and Michael Aloni as Miller In David Edgar’s Here In America; (R) David Edgar in rehearsal at the RSC
RON JACOBS welcomes the translation into English of an angry cry from the place they call the periphery
GUILLERMO THOMAS recommends a useful book aimed at informing activists with local examples of solidarity in action around the world
HENRY BELL is provoked by a book that looks toward, but does not fully explore the question of who gets to imagine the shapes of cities to come
MATTHEW HAWKINS surveys the upcoming programme of contemporary dance in Glasgow, and picks some highlights
‘Chance encounters are what keep us going,’ says novelist Haruki Murakami. In Amy, a chance encounter gives fresh perspective to memories of angst, hedonism and a charismatic teenage rebel.
THE five years since I last spoke to the prolific playwright David Edgar have been a wild ride crammed with war, rising right-wing populism and a global pandemic.
As I sit down to talk to him about two new plays that he currently has in performance, The New Real at the RSC and Here in America at the Orange Tree, there is much to discuss and, as he admits, “it’s difficult to be optimistic.”
The RSC’s production, his tenth at the theatre over almost 50 years, centres on US political consultants “spreading their dark arts across the planet” — something Edgar is very keen to highlight. So much so that he has also co-authored a book on the subject with Jon Bloomfield titled The Little Black Book of the Populist Right.
Similar stories
MARY CONWAY relishes two matchless performers and a masterclass in tightly focused wordplay
GORDON PARSONS applauds one of those few brave plays to confront the politics of our world head on
MARY CONWAY feels the contemporary resonance of a new play set amid the manic and self-destructive patriotism of the McCarthy era
GORDON PARSONS relishes a Shakespearean comedy played at pace for sheer delight