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Pros and cons of Littlewood life story
The RSC's new musical biography of a great radical theatre-maker divides our critics
Miss Littlewood
[Topher McGrillis]
Given the power of the live experience, MIK SABIERS recommends Jon Spencer’s new album
Reviews of T.P. Orchestre Poly-Rythmo, Tamikrest, and Dub Colossus
The bard celebrates two other fine practitioners of the art, and laments a lost brewer
This right-wing conspiracy theory is used to justify the coercive measures against gender, race and labour rights that best serve capitalism, attests GAVIN O’TOOLE
KENNY MONROSE recommends a new exhibition that highlights the significance of Black British music
JOAN LITTLEWOOD and Peter Brook are undeniably two of the major directorial influences on modern European theatre, with both in very different ways stretching the boundaries of style, text, themes and processes in performance.
If Brook’s approach is rooted in intellectual inquiry, Littlewood’s concern was essentially entertainment. Sam Kenyon’s lively musical biography Miss Littlewood at the RSC in Stratford-upon-Avon is faithful both to her life and her work and while going full-out to entertain, it conveys the loneliness at the core of her anarchic personality.
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