MARY CONWAY revels in a powerful reminder that human lives are not defined by physical perfection
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Timely words on the 1992 Los Angeles riots
Nina Bowers maintains a striking intensity throughout Twilight
[Cameron Slater]
PAUL DONOVAN recommends the fine performances in this account of the pre-war meeting between the US president and the British king
TECLYN AROD relishes an intimate celebration of jazz improvisation that mixes local and national musicians
The missing sister, the vengeful WAG, cruise ship claustrophobia, and reanimated Avengers
Three great releases of lost concerts by Duke Ellington Orchestra, John Taylor & Stan Sulzman, and Joe Henderson
To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
Twilight: Los Angeles, 1992
Gate Theatre, London
ANNA DEAVERE SMITH’S play brilliantly grasps the power and political impact of those bearing witness to momentous events.
First staged in 1994, this early example of verbatim theatre draws on interviews conducted in the aftermath of the 1992 Los Angeles riots and, in the process, explores the police beating of Rodney King, the killing of Latasha Harlins, the two King trials and race relations in the city.
The fragmented voices we hear provide no straightforward narrative. They are a constellation of disenfranchisement, bordered communities, oppression and violence yet, within that constellation, there are striking resonances.
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