KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
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Celebrating Cable Street
LYNNE WALSH interviews writer Alex Kanefsky and designer Yoav Segal about their new musical, Cable Street
VETERAN ANTI-FASCIST: (Left) Ubby Cowan, veteran of the battle of Cable Street and inspiration for the designs of his grandson, (Right) Yoav Segal
[Courtesy of Yoav Segal]
MICHAL BONCZA recommends a minimalist installation that prompts intriguing connotations
FIONA O’CONNOR questions the achievement of this year’s Orwell prize winner for political fiction
LEO BOIX reviews two powerful Latin American novels in which myth and crime fiction expose the deadly consequences of patriarchy, clandestine abortion and state violence
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Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
ANGUS REID considers the power of the podcast as a vehicle for consensus building in opposition to mainstream media narratives
THE Battle of Cable Street resonates as a vital moment in radical history, with the stories of those who fought there living on for future generations. The 1936 clash, between working-class people of London’s East End and Oswald Mosley’s British Union of Fascists, has attracted much attention from musicians and actors.
From the mid-1980s, when folk-punk band The Men They Couldn’t Hang gave us the anthemic The Ghosts of Cable Street, through to folkies The Young ‘Uns creating a new song, Cable Street, as part of their show about the anti-fascist Johnny Longstaff. A few years ago, the inimitable Stephen Berkoff staged his verse play, They Shall Not Pass, and this year sees the continued run of The Merchant of Venice 1936, transposed to the East End, and Tracy-Ann Oberman as Shylock, as fascists threaten the community.
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