PAUL DONOVAN is chilled by the contemporary resonance of Harper Lee’s coming of age tale amidst racism and white supremacy in this excellent production
Latest editorial
Arts ahead
Star critics cherry-pick some of the best on offer in the weeks to come
GEOFF BOTTOMS recommends the unashamedly light-hearted escapism on offer in this stage version of the 1963 film
Full of mysterious religious references and radical sound design, the Scottish duo’s new offering is candidate for album of the year, suggests SIMON DUFF
MARY CONWAY revels in a powerful reminder that human lives are not defined by physical perfection
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
EDINBURGH THEATRE
Waiting for Godot
Royal Lyceum Theatre
Grindlay Street
Until October 10
“What are we doing here? That is the question,” posed by two of Scotland’s great stage actors, Brian Cox and Bill Paterson. They play Vladimir and Estragon in Samuel Beckett’s existentialist classic where, on a bare country road and by a single tree, two down-and-out friends meet at dusk to await the arrival of the mysterious Godot. As they wait, they pass the time laughing at who they are, arguing over what little they have and speculating on the meaning of life. Deadly serious yet seriously funny, this elusive play continues to provide food for thought. With these two in the leads, best book soon, though.
lyceum.org.uk
WALSALL EXHIBITION
Mat Collishaw
The New Art Gallery
Gallery Square
Until January 10
Similar stories
GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
KEVIN DONNELLY accepts the invitation to think speculatively in contemplation of representations of people of African descent in our cultural heritage
DAVID NICHOLSON is thrilled – and shocked – by an opera that seethes and sizzles with passion and the depraved use of power