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DENNIS BROE finds much to praise in the new South African Netflix series, but wonders why it feels forced to sell out its heroine
A rather disappointing loss of plot
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Fiery words from the Bard in Blackpool and Edinburgh, and Evidence Based Punk Rock from The Protest Family
MATTHEW HAWKINS is mesmerised by a performance that dissolves the line between audience and performer
MATTHEW SHARPE recommends the essays of a Renaissance politician that instruct and unnerve after 400 years
GAVIN O’TOOLE welcomes the reissue of a seminal work of revolutionary theory that have genuine relevance in the current context
Clark with the London Contemporary Orchestra (LCO)
Barbican
TECHNO polymath Chris Clark reinvents himself as a classical composer with latest album Playground In A Lake, a work that saw him learn how to read and write sheet music before producing, which he performs for the first time with an orchestra.
The album feels like a continuation of his impressive soundtrack work – The Last Panthers, Kiri Variations and Daniel Isn’t Real – and is an elegiac journey that he describes as “a story about real climate change, but told in mythological terms.”
There are moments of beauty and awe, where the juxtaposition of gentle strings with electronic dystopian dissonance on Entrophy Polychord perfectly captures an imagined futurescape, producing what you would expect from a collaboration between an electronic artist and an orchestra.
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