New releases from Robert Forster, Self Esteem, and Arve Henriksen
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It’s all right Ma
MARY CONWAY admires a depiction of the tragic, lonely private self of those who spend their lives pretending they are fine
TRAGIC: Alexa Davies as Charley in Lady Dealer
SIMON PARSONS is gripped by a psychological thriller that questions the the power of the state over vulnerable individuals
KEN COCKBURN assesses the art of Ian Hamilton Finlay for the experience of warfare it incited and represents
The bard gives us advance notice of his upcoming medieval K-pop releases
GORDON PARSONS steps warily through the pessimistic world view of an influential US conservative
HENRY BELL takes issue with the assertion that basic income is a remedy for poverty when it doesn’t address the inbuilt inequality of capitalism
RON JACOBS welcomes an investigation of the murders of US leftist activists that tells the story of a solidarity movement in Chile
Lady Dealer
Bush Theatre, London
THE BUSH THEATRE, under Lynette Linton’s artistic direction, works hard to bring us the voices of minoritised people and groups.
Lady Dealer — direct from the Edinburgh Festival and a product of lockdown — entices us into the private world of one such person: Charley, a young forgotten woman of our times.
Charley lives alone like many other young women, but, as a drug dealer who is also a woman, she is a rare beast who, when suddenly becoming aware that she has an audience, proceeds to confide in — and practise her fragile social skills on — us.
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MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
JAN WOOLF doubts that soft-core musical is the best way to transmit an important story of heroism and resistance
STEVE ANDREW relishes a survey that sets the genre within a wider social, cultural and political context
