STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
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Toffs at each other’s throats
Never too far from a farce this ideological enmity gets a serious meaning on the WWI battlefields of Flanders, writes MAYER WAKEFIELD
TOFFING IT OUT: Joe Gill as Keith Rae and Nikolas Salmon as Billy Grenfell
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
MARY CONWAY is disappointed by a star-studded adaptation of Ibsen’s play that is devoid of believable humanity
GORDON PARSONS is fascinated by a unique dream journal collected by a Jewish journalist in Nazi Berlin
Borrowed Time: Lennon’s Last Decade, Parthenope, Where Dragons Live and Thunderbolts* reviewed by MICHAL BONCZA and MARIA DUARTE
Into Battle
Greenwich Theatre
HUGH SALMON’S debut is a play of two distinct halves welded together by the extraordinary real-life experiences of its characters which far surpasses its billing as “the true story of a bitter feud at Oxford University.”
The first half is fundamentally concerned with the battle of ideas taking place in the upper echelons of British society at the beginning of the 20th century. The battle is causing ruptures in Balliol College where Etonian toffs are running riot while in the background the House of Lords have just voted to block Asquith’s “People’s Budget.”
It’s difficult to ignore the ironic relevance over a century on.
The often drunk and always irksome Billy Grenfell (Nikolas Salmon) trashes the halls while his virtuous “chief opponent” Keith Rae (Joe Gill) is establishing a Boys’ Club to bridge the social divide between the college and the slums of Oxford.
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