BARBARA BOSWELL remembers South African poet, storyteller, publisher, editor and activist Diana Ferrus (1953-2026)
Latest editorial
God botherer with a memorable mission
GORDON PARSONS sees a production of Tamburlaine which brilliantly captures the protagonist's sacrilegious assault on the notion of a divine being
Outstanding: Jude Owusu (left)
[Pic: Ellie Kurtz]
HELEN VASSALLO recommends a gripping Argentinian crime story about gender violence and the weaponisation of religion
New releases from Steve Swallow, Neil Young & The Chrome Hearts, and Ady Johnson
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.
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
MICHAEL BOYD, who ran the RSC for nine years from 2003, returns to Stratford with a play posing particular problems for modern audiences and makes it speak directly to them with the company’s most assured production in recent times.
Through his dramas, Christopher Marlowe — anarchist, atheist and sexual free-wheeler — delivers the ultimate question of Renaissance humanism. In a world without gods, can man become his own deity?
Master of the mighty line, Marlowe’s language has little of Shakespeare’s fluidity and less of his variety. Nor, driven by insatiable ambition, do his tragic heroes have the questing ambiguity characteristic of the Bard’s protagonists.
Similar stories
GORDON PARSONS salutes the apt return of Brecht’s vaudevillian cartoon drama that retains the vitality of the boxing or the circus ring
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today
GORDON PARSONS is disappointed by an unsubtle production of this comedy of upper middle class infidelity