MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
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Follow the Movement: August 17, 2023
A tap-dancer negotiates non-entity to great effect, while Israelis indulge their own brand of marshalled torture
Thaddeus McWhinnie Phillips in Lost Soles; L-E-V Dance Company in Chapter 3: The Brutal Journey of the Heart
[Erin Rollman/Stefan Dotter]
MARTIN HALL examines the way the Roman orator took on different schools of philosophy
ALEX HALL is amused at the way the UFOs appear exactly where commercial interests, conspiracies, militarism and right-wing media overlap
ANDY HEDGECOCK is astonished by a portrait of contemporary Greece, complete with political protest, organised crime and people trafficking, told from the point of view of — wait for it — runaway poultry
MICHAL BONCZA and MARIA DUARTE review Eagles Of The Republic, The Balloonists, Star Wars: The Mandalorian and Grogu, and Tom Clancy’s Jack Ryan: Ghost War
TOMASZ PIERSCIONEK is intrigued by a the changing significance of its vast areas of forest to Russia’s history
ON the track to recognition, starting blocks can be mounted by starlets alongside peers for whom the way ahead will imperceptibly fork. Tap-dancing artistes who totally know their stuff may get shuffled to Wyoming (or elsewhere) for endless earnest address to non-entities.
In Lost Soles (★★★★★) at Assembly Roxy, dancing actor Thaddeus McWhinnie Phillips seemingly fritters away quite a bit of stage time setting up unprepossessing retro objects and props, nattering amiably the while.
His moderate pace is deceptive. Key moments arise. Abrupt set-pieces convulse with layered information and skill. Such flurries open portals to a world we could fruitfully acknowledge — the world of the unsung.
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