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GORDON PARSONS recommends an entertaining account of the years between Germany’s defeat in WWI and Hitler’s seizure of power
Terrible triumph of ‘man who became death’
Gordon Parsons recommends a new play on the rise and fall of J Robert Oppenheimer, the so-called father of the atomic bomb
MIGUEL YOSHIDA explains the evolution and influence of the Cuban Casa De Las Americas in joining culture to the revolutionary struggle
ANDY HEDGECOCK is charmed by a skilful adaptation of Tove Jansson’s lyrical portrait of three generations of a family, overcoming grief
ALEX HALL treads warily through a messy, dialectical struggle fought in the mundane machinery of driving licences, criminal law, and birth registries
MICHAL BONCZA, FIONA O’CONNOR, JAMES WALSH and ANGUS REID review Atlas of Disappearance, Love Me Tender, Bouchra, and This Tempting Madness
Flitting between myth and the modern world, Medusa is determined to steer clear of human affairs. When her resolve crumbles, the result is petrifying in every sense
Oppenheimer at The Swan Theatre, Stratford-Upon-Avon
5/5
J Robert Oppenheimer, the “father of the atomic bomb,” is reputed to have reacted to a 1960s play on his life by complaining that the writer had made a tragedy out of a “damned farce.”
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GORDON PARSONS appreciates fine performances and a feel for ambiguity, but misses the music of the dialogue
GORDON PARSONS salutes the apt return of Brecht’s vaudevillian cartoon drama that retains the vitality of the boxing or the circus ring
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
As we mark the anniversaries of the Hiroshima and Nagasaki bombings, JOHN WIGHT reflects on the enormity of the US decision to drop the atom bombs