MARIA DUARTE, LEO BOIX and ANGUS REID review Brides, Dead of Winter, A Night Like This, and The Librarians
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Statues of limitation
MICHAL BONCZA draws attention to the problematic position that statues of historical figures have in our public spaces
VEXED PRESENCE: (L to R) Stepan Bandera monument in Ternopil, western Ukraine; Colston, from the Hew Locke series Restoration, 2006; ‘Shame’ painted on the Karl Lueger statue in Vienna, 2020
[(L to R) Mykola Vasylechko/CC - Kasa Fue/CC - Hew Locke/Spike Island] ![REBELS: Ebada Hassan and Safiyya Ingar in Nadia Fall’s powerful debut feature Brides [Pic: IMDb]](https://msd11.gn.apc.org/sites/default/files/styles/desktop/public/2025-09/round%20up%20web_0.jpg.webp?itok=41xI6jhN)
MARY CONWAY recommends an early Shakespearean tragedy that feels so contemporary that it mirrors our daily news
A ghost story by Mexican Ave Barrera, a Surrealist poetry collection by Peruvian Cesar Moro, and a manifesto-poem on women’s labour and capitalist havoc by Peruvian Valeria Roman Marroquin
DAVID NICHOLSON recommends a dazzling production of Bernstein’s opera set in a world where chaos and violence are greeted by equanimity
MARY CONWAY is frustrated by a new play that loses its drama amid the moral dilemma of re-settling children in the aftermath of WWII
Acclaimed as a masterpiece when it premiered, this study of story-telling in an Irish pub more than lives up to expectations, says MARY CONWAY
SYLVIA HIKINS relishes a comedy that dives deep into Liverpool’s divided loyalties
EVERY JANUARY, and this one’s no exception, witnesses a ritual of defacing or bringing down of statues of James Cook in Australia in well-planned interventions by those who protest against linking Australia Day to his arrival on the continent in January 1788 and the genocide of native people that followed.
Nearly 20 years earlier, in 2006, British artist Hew Locke mercilessly ridiculed slaver Edward Colston by adorning his statue in Bristol with glittering, ersatz-gold regalia and trinkets as part of his Restoration series.
Locke’s intention to expose Colston’s involvement in corruption and enrichment through slavery was abundantly clear but, at the time, the message remained largely within the realm of contemporary art.
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