NICK MATTHEWS welcomes the return of Samuel Coleridge-Taylor’s music to the repertoire of this years’ Three Choirs Festival
The tears of a clone
SIMON PARSONS applauds a moving version of Ishiguro’s vision of a world in which science and ethics have diverged
PINKIE PROMISE: Nell Barlow and Amelie Abbott in Never Let Me Go
[Hugo Glendinning] 
LEO BOIX reviews a caustic novel of resistance and womanhood by Buenos Aires-born Lucia Lijtmaer, and an electrifying poetry collection by Chilean Vicente Huidobro
MATTHEW HAWKINS applauds a psychotherapist’s disection of William Blake
New releases from Christina Alden and Alex Patterson, Odette Michell, Clementine Lovell
JOHN GREEN is fascinated by a very readable account of Britain’s involvement in South America
Strip cartoons used to be the bread and butter of newspapers and they have been around for centuries. MICHAL BONCZA asks our own Paul Tanner about which bees are in his bonnet
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today
Never Let Me Go
Bristol Old Vic
SUZANNE HEATHCOTE’S stage adaptation of Kazuo Ishiguro’s highly acclaimed 2005 novel is an assured and theatrically satisfying production.
The dystopian elements of an alternative England that has embraced human cloning are merely the framework on which to hang an elegiac story of friendship and innocent childhood memories recalled from the perspective of an adult world of sacrifice.
Nell Barlow’s effectively restrained and intelligent performance as the narrator Kathy provides a poignant yet non-judgmental commentary on her seemingly idyllic, rural boarding school days as she tries to come to terms with the fate destined for her and her classmates who were once made to feel so special.
Similar stories
SIMON PARSONS is taken by a thought provoking and intelligent play performed with great sensitivity
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
SIMON PARSONS is swept away on the running tide of a dynamic new version of Hans Christian Andersen’s fairy tale