The Bard stands with the Reformers of Peterloo, and their shared genius in teaching history with music and song
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Wherefore art thou, Sergio?
ALAN CAIG WILSON is hypotised by a compelling and elusive show about love and death
NAKED NARRATIVE: Daniel Goldman in Divine Invention
[Adam Lenson]
SUE TURNER is fascinated by a book that researches who the largely immigrant workforce were that built the Empire State
MARIA DUARTE and MALC McGOOKIN review Sirat, The Testament of Ann Lee, EPiC: Elvis Presley in Concert, and All You Need Is Kill
STEVE ANDREW recommends a Marxist analysis of the long chains of production that global corporations exploit
MARY CONWAY relishes the period detail but misses the drama in this unsatisfactory dramatisation of the subjugated life of George Eliot
IAN SINCLAIR welcomes a mainstream scholar to the ranks of left-wing critique of US foreign policy
PETER MASON is disappointed that the eponymous Count fails to put in an appearance
Divine Invention
Summerhall, Edinburgh
SERGIO BLANCO’s one-man show Divine Invention is part performance lecture, part fictionalised autobiographical memoir. For 65 minutes it draws us in, folding and twisting us through the fabric of its truth.
A man sits at his desk surrounded by props which we read as if reading a film-screen. A notebook, an art-card of a Francis Bacon painting, a microscope (mystifying, and ultimately ultimately enlightening) — objects that encourage us to draw connections.
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