JOHN GREEN surveys the remarkable career of screenwriter Malcolm Hulke and the essential part played by his membership of the Communist Party
Navigating 21st century dating without moralising
SIMON PARSONS enjoys a seemingly mismatched drama with likeable personalities and amusing dialogue
The Star's critic MARIA DUARTE reviews Last Breath, Sister Midnight, Opus, and The Electric State
HENRY BELL is moved by the account of scientists under seige in Leningrad who preferred to starve rather than sacrifice their life-saving work
RUTH AYLETT recommends two anthologies: one that bears witness to refugee and immigrant experiences, and the other to our political relationship to water
SETH SANDRONSKY appreciates a fresh take on a 100-year-old novel that helps to contextualise the current moment of conspicuous wealth, waste and climate chaos
A no-nonsense ex-Garda female cop, Scandi-noir’s newest flawed hero, the lure of Aussie gold, and unexpected decency in Silicon valley
JAN WOOLF doubts that soft-core musical is the best way to transmit an important story of heroism and resistance
Banging Denmark
Finborough Theatre
RECEIVING its European premiere, Van Badham’s play is a sparkling rom com that dissects some of the controversial, contemporary issues with dating.
Tom Kay plays the successful, misogynist podcaster and self-help, pick-up artist, Jake Newhouse, aka Guy Dewitt. His uncompromising sexist broadcasts to needy males going by such absurd pseudonyms as Hammerhead and Mr Tearsdry might sound as if they are out of an Andrew Tate playbook if they were not so comically ridiculous.
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MICHAL BONCZA recommends a compact volume that charts the art of propagating ideas across the 20th century
MICHAL BONCZA reviews Cairokee gig at the London Barbican
MICHAL BONCZA rounds up a series of images designed to inspire women
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The Star's critic MARIA DUARTE reviews Superboys of Malegaon, Food For Thought, The Summer With Carmen, and Fight or Flight
MARY CONWAY evaluates a polemical play whose actors, rather than the writer, introduce the humanity and the light and shade
SIMON PARSONS investigates a play that is neither a family drama representative of a polarised US, nor symbolic drama of violent isolationism
LYNNE WALSH asks why a new play that explores the inner conflict of a 1980s skinhead doesn’t do more to interrogate the creed of fascism