MICHAL BONCZA recommends a minimalist installation that prompts intriguing connotations
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Best of 2018: London theatre
by MARY CONWAY
FIONA O’CONNOR questions the achievement of this year’s Orwell prize winner for political fiction
LEO BOIX reviews two powerful Latin American novels in which myth and crime fiction expose the deadly consequences of patriarchy, clandestine abortion and state violence
New releases from Laura Veirs, The Waterboys, and Yard Act
Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
ANGUS REID considers the power of the podcast as a vehicle for consensus building in opposition to mainstream media narratives
THE BRAINCHILD of Jamie Lloyd, the ongoing Pinter at the Pinter season at the Harold Pinter Theatre commemorates the playwright’s death 10 years ago with seven different compilations of his one-act plays and monologues. Packed with actors at the top of their game, it's a theatrefest to make the heart sing.
Uncomfortably true: A Very Very Very Dark Matter (Pic: Manuel Harlan)
Not only does it showcase Pinter’s range through comedy, anger and political satire to the poignantly personal, raw, violent and prescient, it is also a landmark in the history of theatre craft — a seismic shift from linear narrative to the kind of drama where the fragile construct of words often disguises real character complexity.
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MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY
JAN WOOLF is beguiled by the tempting notion that Freud psychoanalysed Hitler in a comedy that explores the vulnerability of a damaged individual
MATTHEW HAWKINS recommends three memorable performances from Scottish dance artists Barrowland Ballet, In the Fields Project, and Wendy Houston