EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
Lenny Henry’s finest hour
MARY CONWAY marvels at a charismatic performance that demonstrates the plight of the Windrush generation
COMIC BRILLIANCE: Lenny Henry in 'August in England'
[Tristram Kenton]
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
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
August in England
Bush Theatre, London
IF anyone can command a stage as effortlessly as Lenny Henry, I’d like to know who.
Charm, versatility, mercurial transformation, comic brilliance and open-hearted audience rapport mark out this consummate actor as one of the safest bets for a one-man show you could possibly imagine.
In this, his debut play, Henry holds an adoring audience in the palm of his hand for 90 minutes and the Bush Theatre buzzes with life.
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