OSTENTATIOUS: (L to R) Amy Bianchi as Cyri, Ashleigh-Mae Schoburgh-Crooks as Efe and Khariis Ubiaro as Mane Man
[Lidia Crisafulli]
MATTHEW HAWKINS relishes the valiant defiance of two gay Scottish painters whose example resists both collectors’ taste and historical fiction
Essays on contemporary Latin American feminism, a poetry debut by a queer Texan of Mexican heritage, and a lush volume of tango and milonga drawings
JOHN McINALLY welcomes a rigorous class analysis of the history and exploitation of sectarianism by the Scottish ruling elite
The bard pays homage to his two muses: his wife and his football club
The Wonderful
Theatre Peckham, London SE5
THEATRE Peckham is quickly becoming one of my favourite venues for new shows; a community-based theatre in the heart of south-east London, giving a space to the independent, political voices and productions demanding social change. A place which “champions underrepresented voices and leads the change that is influencing our sector,” so its website says.
And what better way to celebrate the holiday season with a much-needed update on the firm family favourite, The Wonderful Wizard of Oz? This time around this reimagined adaptation of L Frank Baum’s classic tale starts off in modern-day Peckham, the Tinman is a Cyborg and Toto the dog is called TikTok. I imagine that scriptwriter Geoff Aymer and director Suzann McLean had a lot of fun with this one.
