ANGUS REID questions whether a human scriptwriter is behind the multiple plagiarisms of Disney’s much-lauded and vacuous extension of the Alien franchise
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Sympathy for the devils
‘There's outrage aplenty in this production but we never quite get to the dark night of the soul,’ writes WILL STONE
HOMOSEXUAL REPRESSION: Kingsley Ben-Adir as Brick and Seb Carrington as Skipper
[Marc Brenner] 
ANDREW FILMER welcomes the reopening of Glasgow’s landmark theatre after a seven-year transformation
CHRIS SEARLE encourages you to go hear a landmark performance, and introduces some of the musicians
WILL PODMORE welcomes a timely and clear-eyed account of both Nato and Britain’s fatal role in the process that led to war in Ukraine
IAN SINCLAIR reviews new releases from The Beaches, CMAT and Kathleen Edwards
RICHARD MURGATROYD is intrigued by a study that asks why the ability to diagnose outstrips the ability to cure
Cat On A Hot Tin Roof
Almeida Theatre
TENNESSEE Williams’s favourite play is a masterpiece of richly drawn characters, open to seemingly endless interpretation.
Set on a cotton plantation in the Deep South, the original 1955 production had a white cast performing as the family of wealthy landowners with black actors playing servants.
Since then productions have featured an all-black cast and those set in the modern era complete with mobile phones and iPads.
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