MARIA DUARTE recommends a remarkable study of the friendship between a Palestinian and a Pakistani, broken by a hostile state
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Waking up from the American dream
SIMON PARSONS admires an ambitious adaptation of a novel that plots the path from role-play to reality
ROLEPLAY: (L-R) Lukwesa Mwamba and Kalungi Ssebandeke in We Need New Names
[Robert Day Photography]
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
We Need New Names
The North Wall Arts Centre
STAGE adaptations of successful novels face both pros and cons.
They automatically ensure a conversant and expectant audience but then carry the burden of living-up to those expectations.
Shortlisted for the 2013 Man Booker prize, this spirited, rites-of-passage story by black Zimbabwean, NoViolet Bulawayo is no exception.
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GORDON PARSONS appreciates fine performances and a feel for ambiguity, but misses the music of the dialogue
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
PETER MASON applauds a stage version of Le Carre’s novel that questions what ordinary people have to gain from high-level governmental spying
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship