No excuses can hide the criminal actions of a Nazi fellow-traveller in this admirably objective documentary, suggests MARTIN HALL
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A shout from without
LYNNE WALSH regrets that unity is denied to a fine cast let down by the baffling spectacle of a poor lead performance
WILL YE STOP OVER-ACTING? Paul Hilton (Joxer Daly) and Mark Rylance ('Captain' Jack Boyle) in Juno And The Paycock
PAUL DONOVAN relishes a fascinating exploration of the leading lights of the Labour right in the 1970s
BEN LUNN alerts us to the creeping return of philanthropy and private patronage, and suggests alternative paths to explore
A novel by Argentinian Jorge Consiglio, a personal dictionary by Uruguayan Ida Vitale, and poetry by Mexican Homero Aridjis
MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
New releases reviewed by IAN SINCLAIR
STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
Juno and the Paycock
Gielgud Theatre, London
CAN you hear that spinning sound, ma chara? That’ll be the genius playwright Sean O’Casey rolling in his imagined grave.
The cause lies in this latest iteration of his trailblazing work, first performed a century ago.
It should be said that there are some four and five-star performances in this production. Unfortunately, its biggest name, the much-lauded Mark Rylance does not deliver one. Instead, his is a baffling spectacle, a mumbling, eye-rolling extravaganza, manifesting the alcoholic bully “Captain” Jack Boyle as a rather exhausting caricature.
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