MICHAL BONCZA highly recommends a revelatory exhibition of work by the doyen of indigenous Australians’ art, Emily Kam Kngwarray
2021 Round-up with Gordon Parsons
On stage the intriguing Splinter of Ice, eccentricity of Wuthering Heights and a revival of the Living Newspaper tradition absorbed just as much as the graphic novel The Dancing Plague, Ariel Dorfman’s The Compensation Bureau or Mario Vargas Llosa’s Harsh Times
UTTERLY ABSORBING: Oliver Ford Davies (Graham Greene, left) and Stephen Boxer (Kim Philby) in Splinter of Ice
[James Findlay] 
The Bard commutes to work for the first time in 45 years
GORDON PARSONS is riveted by a translation of Shakespeare’s tragedy into joyous comedy set in a southern black homestead
GEORGE FOGARTY relishes the music of black British artists that channels Carribbean, Latin and club sounds, along with contemporary west African radicalism
CHRIS SEARLE hears the ordeal of the Palestinian people in the improvised musicianship of a UK jazz trio
DAVID RENTON is puzzled by an ambitious attempt to look back on world culture from the future without engaging with or understanding it
THIS year we all needed cheering up on the theatre front and two shows hit the mark. In their new Avon-side, Stratford, mobile theatre, the RSC’s Comedy of Errors (now a perfect London Christmas treat) was a splendid choice for the company to re-emerge onto a live stage.
Shakespeare’s most chaotically joyous farce, centred on a kaleidoscopic tangle of mistaken identities, was a fine two-fingered gesture to the misery we had all suffered during the past 18 months.
Less likely, perhaps, to lighten spirits, was Wuthering Heights at Bristol Old Vic and bound for The National Theatre. However, this was a production from Emma Rice’s Wise Children Company, successor to the wonderful Kneehigh Theatre.
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GORDON PARSONS is riveted by a translation of Shakespeare’s tragedy into joyous comedy set in a southern black homestead
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