The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
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Some mothers won’t leave ‘em
MARY CONWAY marvels at the totally engrossing revival of a little-known classic that speaks volumes to interpersonal relationships today
silver cord
JOHN GREEN explores the argument that psychiatry needs to move away from the idea of just seeing and treating the individual
SYLVIA HIKINS applauds a polemic against “cleanfluencers” and considers radical alternatives to current inequalities of housework
RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
The Silver Cord
Finborough Theatre, London
ARTISTIC director Neil McPherson proves his weight in gold, again, as he pursues his mission to bring forgotten gems back to the London stage.
The Silver Cord by US writer Sidney Howard is one such find. Last seen in the West End in 1927-28, it’s been gathering dust for a century as new fads and fashions grip the theatre world.
But it’s a worthy revival. For, though set in a traditional New England home in a long-gone era, it skewers our hearts now with its unswervingly profound central theme: that of the umbilical bond between mother and son.
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