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Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
Absolutely hellish tedium
Excellent performances can't redeem the inconsequentiality of Rodney Ackland's play, says MAYER WAKEFIELD
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
The Star's critics ANGUS REID, ANDY HEDGECOCK and MICHAL BONCZA reviews I Am Love, The Penguin Lessons, Freaky Tales, The Thicket
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
Absolute Hell
National Theatre, London
RODNEY ACKLAND'S 1952 play Absolute Hell and the director of this latest revival, Joe Hill-Gibbins, both come with a reputation for raucousness. Surprising then that, despite many a flourish, this production fails to deliver on its satanic promise.
Set in the immediate aftermath of WWII Soho, with a Labour election victory looming, Ackland’s work — initially titled The Pink Room — was greeted with such negative critical fervour that it was forced to close within three weeks, losing its producer Terence Rattigan £3,500 and their friendship to boot.
A series of high-profile revivals have restored the play's reputation and that of its author, but, despite painting beautifully detailed character sketches, the full picture ultimately underwhelms in 2018.
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