MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
A clever collision of two counter narratives
MAYER WAKEFIELD recommends a show which finds the pulse of modern Britain in alarming fashion
duo
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
MARY CONWAY is disappointed by a production that panders – if inadvertently – to Western prejudice against China
JOHN GREEN is fascinated by a history that excavates the enormous role played by agricultural workers in recent times
ALEX HALL recommends a book that places empirical evidence at the heart of understanding racism
Bacon
Finborough Theatre
MY FIRST visit to the Finborough Theatre was to see a show called Fog. It was one of the first times I saw a production that really connected with me and my experiences. Now, exactly a decade on, comes another show which finds the pulse of modern Britain in alarming fashion.
Darren (William Robinson) and Mark (Corey Montague-Sholay) have just begun Year 10 at St Michael’s School in Isleworth. An area where, as Darren describes, the schools “have got the least money of like all the schools in London or some shit innit.”
It’s Mark’s first day after his mother has moved him, having been bullied at his previous school, and he’s flabbergasted by the kids watching porn in the dinner hall.
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