Latest editorial
LOST IN A FLOATING WORLD: Nabhaan Rizwan (Ariel) and Emma Corrin (Anna)
[Helen Murray]
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
MARY CONWAY is disappointed by an incoherent show that fails to question stereotypical assumptions about the Soviet Union
WILL STONE, JAMES WALSH and MARIA DUARTE review Souleymane’s Story, Sunlight, Good Fortune, and After The Hunt
ALEX HALL recommends an exhaustive investigation of the means by which the Starmer faction assassinated the left
AN ARTWORK in itself, Anna X opens as an installation, with strobe lighting, electronic music, two dancing actors and surtitles of their clipped, and sometimes misheard, conversation.
The couple, immersed in the high-octane gadfly life of the New York arts and apps scene, are a world away from their origins. Anna (a superb performance from Emma Corrin) and Ariel (a vulnerable Nabhaan Rizwan) are the protagonists of this fine new play from Joseph Charlton, directed by Daniel Raggett.
Its subject matter is the push and pull of shallow and deep identity. Anna, from Ukraine, but posing as a rich Russian, arrives in the city to start an internship with a trendy fashion and art magazine and, of course, wants to open her own art gallery.
JAN WOOLF is beguiled by the tempting notion that Freud psychoanalysed Hitler in a comedy that explores the vulnerability of a damaged individual
MANJEET RIDON relishes a novel that explores the guilty repressions – and sexual awakenings – of a post-war Dutch bourgeois family
