The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
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Un-American activities
MARY CONWAY feels the contemporary resonance of a new play set amid the manic and self-destructive patriotism of the McCarthy era
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
ANDREW HEDGECOCK relishes visual storytelling with no respect for genres, movements or styles
Here in America
Orange Tree Theatre, Richmond
“WHY should I see this play? And why now?” These are common questions asked by discerning audiences.
David Edgar’s new play at the Orange Tree answers with its title, for this is a play exemplifying contemporary America.
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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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MARY CONWAY is gripped by a hilarious and erudite new play that dramatises the making of the alliance that defeated fascism
A nervous year, showing that the theatre, like the world, stands on a precipice and seems uncertain where to jump
MAYER WAKEFIELD speaks to playwright David Edgar about the political analysis that underlies his two new plays