When the ravages of Alzheimer’s leave an elderly woman marooned in painful memories of October 1950, her grandchild comes up with a creative strategy.
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The fatal Englishman
As her play Blood Gold and Oil premieres this week, JAN WOOLF reflects on the political and personal energies behind the play.
CRUSH: Playwright Jan Woolf confronts her subject T E Lawrence
[Jan Woolf/Flight Lieutenant Smetham/CC]
New releases from Simone White, Brass Funkeys, and Souad Massi
SUE TURNER is compelled by a history that shows how far a country can turn in on itself to collude with abuses of power
RON JACOBS is persuaded by the parallel drawn between Charles Manson and Donald Trump
In this comparison of Britain pre- and post Thatcher, WILL POMORE applauds the analysis, but distrusts the solutions offered
MARIA DUARTE defends a solid, late-career Spielberg conspiracy flick that calls for empathy in a hostile world
FREUD compared psychoanalysis with archaeology — the delayering of the psyche with the removal of topsoil to get to the buried stuff. Grounding truth, archaeologists call it.
Extend that to digging for political truth.
The Arab revolt of 1916 against the Ottoman empire — at the time allied with Germany — had the Sykes-Picot agreement for the post-war division of the Middle East lurking in the shadows of duplicitous diplomacy.
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FRANCIS BECKETT introduces his new play that aims to give its audience a taste of what a far-right triumph would be
JAN WOOLF is beguiled by the tempting notion that Freud psychoanalysed Hitler in a comedy that explores the vulnerability of a damaged individual