MARIA DUARTE recommends a remarkable study of the friendship between a Palestinian and a Pakistani, broken by a hostile state
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A Tarantino-style blend of humour and violence
AMUSINGLY BLUNT: (L to R) Cecilia Noble (She), Tamara Lawrance (Racine) and Adelayo Adedayo (Anaia)
[Tristram Kenton]
MATTHEW HAWKINS rakes through un-fancy words and flair-free summaries to find who and what might be flamboyant
PETER MASON is exhilarated by an exciting, well-considered and historically minded tribute to the great Trinidadian instrument
Reducing historical lives to ‘male’ and ‘female’ roles, we lose the nuance of those lives and a clearer understanding of past societies, suggests CLAIRE ISABELLA GILMOUR
CHRIS SEARLE relishes the genius of pianist Alexander Hawkins, his many ensembles, and his new album
Is God Is
Royal Court Theatre
ALESHEA Harris’s award winning play opened to rave reviews in New York in 2018 and now explodes on to the stage at the Royal Court with Ola Ince’s taut, visceral production.
Black twin sisters Racine and Anaia emerge from nowhere, scarred and on a mission to avenge their mother who as far as they are concerned has risen from the dead and understandably wants revenge on her former husband.
Their blood-spattered quest takes them to the mountains of California in an attempt to trace their father, now living a respectable middle-class married life with a disenchanted wife and a new set of twins.
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SIMON PARSONS applauds the timely revival of a play about solidarity and betrayal within Britain’s Pakistani community
GORDON PARSONS appreciates fine performances and a feel for ambiguity, but misses the music of the dialogue
KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem