WILL STONE samples the 20th anniversary atmosphere of this eclectic end-of-season indie festival
Latest editorial
Peaceophobia
While the subject matter is sobering and serious, this isn't your run-of-the-mill polemic, write INDIE PURCELL
[Ian Hodgson]
Comics are not just superheroes and spandex – it can be public art, telling public stories, suggests HARRIET EARLE
The bard serenades the Diggers of Wigan and their festive followers
ALEXEI SAYLE speaks to Angus Reid about a lifetime of protest, how to hone political art – and what to do now
ANDY HEDGECOCK, JAMES WALSH, LEO BOIX and MARIA DUARTE review Just An Illusion, Everybody Digs Bill Evans, Blue Film, Oasis: Don’t Look Back in Anger, and Runner
MARIA DUARTE recommends a nerve-wracking reconstruction of the 72 hours before the Normandy landings
Peaceophobia
Queen Elizabeth Olympic Park Multi-Storey Car Park
London E15
“IF ISLAM is derived from peace, how can you fear peace?” is the crucial question at the heart of this topical production, challenging everyday Islamophobia faced by young Muslim men.
Premiering in London as part of this year’s Greenwich + Docklands International Festival, the setting for Peaceophobia is a multistorey car park (and by all accounts that goes for wherever it’s on), this time it’s east London’s Here East — a legacy site of London’s 2012 Olympics as well as the site for arguably one of London’s biggest gentrification operations within the last 10 years.
It’s perfectly fitting for the story of three young working-class Muslim men who bond over good music and, particularly, car modification — cars being both their sanctuary in escaping rising prejudice as well as ironically a catalyst for it.
Similar stories
MARY CONWAY admires a brave and topical study of Armageddon that is, unfortunately, unable to come to a conclusion
SIMON PARSONS applauds the timely revival of a play about solidarity and betrayal within Britain’s Pakistani community
KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship