Climate activist and writer JANE ROGERS introduces her new collection, Fire-ready, and examines the connection between life and fiction
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Best of 2020: Arts
ELEANOR DOBSON reflects on a stark visual record of the violent desecration of Tutankhamun’s mummified remains
RUTH AYLETT appreciates the rich blend of poetry and music that accompanied the launch of the Morning Star’s anthology of poetry, Who We Are
WANJA KIMANI explores the many bonds of community experience expressed in in the bold and colourful imagery of a new mural
New releases from Keeley, Lucinda Williams and Ye Vagabonds
JAN WOOLF ponders the works and contested reputation of the West German sculptor and provocateur, who believed that everybody is potentially an artist
IN A year of limited opportunity for theatre visits due to Covid, my highlight was A Taste of Honey at the Trafalgar Studios in London, which I managed to catch ahead of the first lockdown.
In the National Theatre staging of Shelagh Delaney’s best-known play, Hildegard Bechtler’s set brilliantly captured the sad and shabbily claustrophobic post-war Salford flat in which mother Helen (Jodie Prenger) and daughter Jo (Gemma Dobson) go into battle. It was possible almost to smell the dirty old town outside, with its noxious gasworks, slaughterhouse and canal.
The cast were uniformly excellent, delivering Delaney’s caustic dialogue with a tangible appreciation for its cadences and nuances.
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