MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
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A Streetcar Named Desire, Young Vic/National Theatre at Home
Gillian Anderson is riveting as the damaged goods in a Tennessee Williams classic
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
WHEN A Streetcar Named Desire premiered in New York in 1947, it was hailed as a sensation. It went on to become a 20th-century tour de force and as director Benedict Andrews demonstrates in this Young Vic production, it is an abiding masterpiece.
TO DIE FOR: Gillian Anderson (centre) as Blanche DuBois [Photo Alastair Muir]
Its subtle updating is an astonishingly daring approach given writer Tennessee Williams’s precision in its original setting.
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