EWAN CAMERON picks out two fascinating music shows, fusing the Korean, and the Celtic, with the modern
The Welkin, National Theatre London
Riveting and original exploration of women's lives in mid-18th century England
COMMANDING: Maxine Peake (second right) in The Welkin
[Brinkhoff-Moegenburg]
BENJAMIN POTHIER suggests that Palaeolithic cave paintings in Spain point to the ceremonial use of hallucinogenic flora
The bard confirms that the right has a humour bypass, and replays the English Revolution on period instruments
MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
JOHN GREEN relishes a powerful and moving drama that explores the lived realities of west London’s Punjabi community
MARTIN HALL welcomes a plea for greater compassion between believer and non-believer via the framework of philosophical enquiry
THE MONOCHROMATIC, yet stylish, opening scene of a dozen women isolated in their daily drudgery in Lucy Kirkwood’s new play initially appears to be heading towards well-worn territory — the trial format of Twelve Angry Men.
But those brought together are a “jury of matrons” and their role is to decide whether the guilty woman in front of them is pregnant. If she is, she escapes the noose for transportation instead.
With only the nominal supervision of a muted court official, this eclectic group is temporarily released from daily oppressive routines to freely argue another woman’s fate.
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