JAMES WALSH is moved by an exhibition of graphic art that relates horrors that would be much less immediate in other media
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King John, The Swan Theatre, Stratford-upon-Avon
Director's cut Shakespeare sacrifices coherence for chaos
Attention seeking: Eleanor Rhode’s production of King John
RON JACOBS welcomes the translation into English of an angry cry from the place they call the periphery
GUILLERMO THOMAS recommends a useful book aimed at informing activists with local examples of solidarity in action around the world
HENRY BELL is provoked by a book that looks toward, but does not fully explore the question of who gets to imagine the shapes of cities to come
MATTHEW HAWKINS surveys the upcoming programme of contemporary dance in Glasgow, and picks some highlights
‘Chance encounters are what keep us going,’ says novelist Haruki Murakami. In Amy, a chance encounter gives fresh perspective to memories of angst, hedonism and a charismatic teenage rebel.
ONE of Shakespeare’s less popular plays, King John has been described as the most satirical of his histories.
And, as the global scene politically increasingly resembles the goings-on in an exceptionally unruly school yard, Eleanor Rhode’s production attempts to capture that particular spirit of the times.
A radio newscast heralds the entry of Rosie Sherry’s tentative, childlike king. He’s like the first-comer to a kids’ party which is to turn into the bear garden disaster parents dread and the political power struggles at the heart of all Shakespeare’s histories is here played out as the ensuing action descends further into chaos.
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