Latest editorial
ANGUS REID urges us to understand the persecution of Jason Arday from a political and historical perspective, and to see the victim in human terms
Dead reckoning
Caryl Churchill’s great new play brings us disturbingly face to face with our mortality, says MARY CONWAY
Re-releases of the classics Gypsy Rhumba and Buena Vista Social Club, and a stunning album by Palestinian artist Faris Ishaq
Nothing, says ANDY HEDGECOCK, can rescue this undistinguished amalgam of ponderous melodrama and shallow philosophical speculation
JAMIE BRITTON invites readers to visit 3,500 locals as part of a marathon artistic pub crawl
JOHN GREEN welcomes a valuable and incisive analysis of a world become hyperpolitical but without the mass movement institutions to represent it
Here We Go
National Theatre, London SE1
4/5
CARYL CHURCHILL’S reputation guarantees her a main-stage production for almost anything she writes.
Nevertheless many will be surprised that her new piece Here We Go appears in the National’s repertoire, given the play’s brevity at only 40 minutes and its blatant daring in devoting almost half the running time to a scene where two actors perform in total silence.
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EWAN CAMERON witnesses a political farce that lacks a clear message
KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth