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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Brothers bereft of context
Wider political and social concerns never intrude on a domestic drama of fraternal discovery, says JOHN GREEN
ONES TO WATCH: Danny Sapani (left) and Anton Lesser
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
Hymn
Almeida Theatre, London
THIS two-hander serves up riveting performances by two consummate actors who have had to rapidly adapt from performing in a real theatre with a live audience to an onscreen-only production involving many close-ups.
The lighting and camerawork both work wonders in a very confined space and what is perhaps lost from the theatrical experience is made up for with the bonus of intimacy.
Thirty-something Gil (Anton Lesser) is delivering the eulogy at his father’s funeral when, towards the end of the ceremony, he is approached by Benny (Danny Sapani), who reluctantly reveals that he is Gil’s half-brother, the son of the same father who has just been despatched to the afterlife.
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