MARIA DUARTE recommends a remarkable study of the friendship between a Palestinian and a Pakistani, broken by a hostile state
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Dead reckoning
Caryl Churchill’s great new play brings us disturbingly face to face with our mortality, says MARY CONWAY
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
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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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