SCOTT ALSWORTH hears the call to burn down and rebuild the video game industry from the bottom up
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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
The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
ALEX HALL is intrigued by a detailed history of Gaza that demonstrates its historic resilience and changing economy
RON JACOBS welcomes the long overdue translation of an epic work that chronicles resistance to fascism during WWII
MAYER WAKEFIELD is chilled by the co-dependency of two lost souls as portrayed by German communist playwright Franz Xaver Kroetz
The Star's critics BRETT GREGORY, JOHN GREEN, MICHAEL BONCZA and ANGUS REID review The Stimming Pool, Misericordia, La Cocina, Irena’s Vow, and The End
CHRIS MOSS welcomes a radical history that brings marginalised stories and overlooked people and agencies to the centre
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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While the group known as the Colourists certainly reinvigorated Scottish painting, a new show is a welcome chance to reassess them, writes ANGUS REID
ANGUS REID recommends an exquisite drama about the disturbing impact of the one child policy in contemporary China
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
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