JON BALDWIN recommends a provocative assertion of how working-class culture can rethink knowledge
‘When it comes to Britain’s colonial past, music can be part of that reckoning’
CHRIS SEARLE speaks to British Nigerian/Jamaican pianist ROELLA OLORO
Roella Oloro, 2021
These are vivid accounts of people’s experiences of far-right violence along with documentation of popular resistance, says MARJORIE MAYO
The Star's critic MARIA DUARTE, JOHN GREEN and ANGUS REID review An Army of Women, Julie Keeps Quiet, The Friend and The Ugly Stepsister
GORDON PARSONS squirms at a production that attempts to update Shakespeare’s comedy to a tale of Premier League football
Above a Gothic bar just down from Brighton station, something spooky is happening, suggests JAMES WALSH
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
MIK SABIERS enjoys the theatrical feminist six piece who have a lot of fun that the audience feeds off as the set rolls on
IT was an especially groovy session at the Vortex, with Roella Oloro’s sparkling piano, the plummeting, dancing bass of Rio Kai and the deft, everywhere drums of Andee Liu.
Roella plays in and out of the tradition with such pride and skill, that if you shut your eyes you could be hearing moments of Geri Allen, Mary Lou Williams, Tommy Flanagan or her earliest inspiration, Oscar Peterson. How they would have loved her!
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