MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
Latest editorial
Theatre review: Alys, Always, The Bridge Theatre London
Slick and stylish it may be but this version of a best-selling thriller has a moral vacuum at its core
Empty gesture: There’s a void at the heart of Alys, Always
[Helen Maybanks]
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
DIRECTOR Nicholas Hytner clearly knows his audience. And, at first glance, his choice of Alys, Always, adapted by Lucinda Coxon from Harriet Lane’s popular novel, seems set to please.
The story is simple. Frances, a busy but put-upon subeditor for Sunday newspaper The Questioner, is driving back to London one night after a miserably mundane Christmas with her miserably mundane parents, when she happens upon a car accident in a lonely country lane.
Similar stories
STEPHEN ARNELL looks back to when protesters took to the streets in London demand to Irish liberty, fair pay and free speech — and wonders what’s changed in 138 years
MARY CONWAY applauds the success of Beth Steel’s bitter-sweet state-of-the-nation play
