JENNY MITCHELL, poetry co-editor for the Morning Star, introduces her priorities, and her first selection
A clever collision of two counter narratives
MAYER WAKEFIELD recommends a show which finds the pulse of modern Britain in alarming fashion
(L to R) William Robinson as and Corey Montague-Sholay as Mark
[Ali Wright]
HENRY BELL is sceptical of the notion that ‘progress’ is an ideology that the ruling class uses exclusively to camouflage appropriation
In search of political understanding, MATTHEW HAWKINS welcomes a critique of anti-semitism as codified by the Israeli state
BEN CHACKO welcomes a masterful analysis that puts class struggle back at the heart of our understanding of China’s revolution
JOHN GREEN is intrigued by the ethereal, ghostly quality of images of a London unobscured by the bustle of humanity
JENNY FARRELL relishes an outstanding Palestinian novel that immerses readers in the sensory reality of Gaza, then and now
AI-induced murder, last rites for the mob-dog, a gullible common herd, and an exemplary Christmas chiller
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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SIMON PARSONS is gripped by a psychological thriller that questions the the power of the state over vulnerable individuals
MAYER WAKEFIELD is chilled by the co-dependency of two lost souls as portrayed by German communist playwright Franz Xaver Kroetz
MAYER WAKEFIELD wonders why this 1978 drama merits a revival despite demonstrating that the underlying theme of racism in the UK remains relevant