MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
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Honouring Ian Spink (1948-2023)
MATTHEW HAWKINS pays tribute to an inspirational dancer and choreographer
INSPIRATIONAL: Ian Spink during a rehearsal in the Schoolhill Studio, Aberdeen
[Colin Thom]
JOHN GREEN relishes a powerful and moving drama that explores the lived realities of west London’s Punjabi community
MARTIN HALL welcomes a plea for greater compassion between believer and non-believer via the framework of philosophical enquiry
MATTHEW HAWKINS welcomes an engaging and nourishing account of the queer subculture that flourished in London between WWII and partial decriminalisation
RON JACOBS welcomes the political lessons for today, about organisation and withdrawal from conflict, made by an erudite and conversational biography
THE Ian Spink Group emerged in London circa 1980. The troupe’s flyers featured an image of an unpeopled thoroughfare curving away enigmatically, yet the show the image heralded was (as I then saw) rich with dancing, new music and handmade design.
Dead Flight fixes in my memory, with its installed transverse section of aircraft fuselage and its pencil-skirted crew enacting deadpan variations on post-armageddon duck-and-cover scenarios.
I caught The Blue Table, a bureaucratic flourish featuring cashmere twinsets, filing cabinets, handbags, dog-biscuits, and verbal patter.
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