Latest editorial
Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
Growing old gracelessly
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
Trestle
Southwark Playhouse
London
THE SCENARIO of a man and a woman trapped by circumstance and the limitations they place upon themselves is the theme of the big London theatre hit of recent months, David Eldridge's Beginning at the National Theatre, and it bears many more similarities to Stewart Pringle's prize-winning debut play Trestle than just its one-word title.
In Eldridge's play, widower Harry (Gary Lilburn) carries out his retirement duties as chair of Billingham's Improvement Committee with diligence. But there's little excitement to be had. So, when the sparky yet blunt Denise (Connie Walker) turns up for her zumba class, his idle muscles start to reactivate and he even reluctantly dons his own exercise gear at one point.
More from this author
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
MAYER WAKEFIELD wonders why this 1978 drama merits a revival despite demonstrating that the underlying theme of racism in the UK remains relevant
MAYER WAKEFIELD speaks to playwright Richard Bean about his new play Reykjavik that depicts the exploitation of the Hull-based “far-fleet” trawlermen
MAYER WAKEFIELD finds himself caught in the crossfire during a riveting piece of activist theatre
