PETER MASON is beguiled by a fascinating account of the importance of cricket to immigrants from the Caribbean to the UK
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GORDON PARSONS sees an adaptation of Moliere’s satire on religious hypocrisy translate magnificently from 17th century Paris to 21st century Birmingham
Hypocrisy in action: Asif Khan as Tartuffe
The new corporate version of Robin Hood is a betrayal of the anti-colonial hero of the people of yore, suggests DENNIS BROE
PETER MASON is gripped by a novel that confronts corporate callousness with those prepared to act to bring about change
KEN COCKBURN relishes the memoir of a translator, but wonders whether the autobiography underlying the impulse would make a better book
A mesmerising novel by Mexican Daniel Saldana Paris, and fierce poetry by Peruvian Dalmacia Ruiz-Rosas Samohod, and Jonathan Gonzalez
PAUL BUHLE an RAYMOND TYLER enjoy an issue of the radical comic WW3 that gives a platform to Palestinian artists, and uncensored commentary
Tartuffe
The Swan Theatre, Stratford-Upon-Avon
SET in the Brummie-Pakistani Muslim household of a successful businessman who has become obsessed by a local would-be imam, Iqbal Khan’s production of Tartuffe works a remarkable theatrical alchemy.
One can imagine some devout believers of Birmingham’s large Pakistani Muslim community being as outraged by this treatment of their religion as Louis XIV’s religious establishment when the play originally aroused so much antagonism.
But from the outset Anil Gupta and Richard Pinto’s adaptation, true to Moliere, ensures that the reactions of Imran Pervaiz’s family clearly show that Tartuffe is an out-and-out phoney. Asif Khan as the toothily oily imposter cons his credulous victim with beguiling ease.
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