STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
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Idolised heroes will be human
PAUL FOLEY recommends a play, by Pulitzer-winner Katori Hall, which imagines Martin Luther King’s last night before his assassination
EXTRAORDINARY: Ntombizodwa Ndlovu as Camae and Adetomiwa Edunas Martin Luther King Jr
[Marc Brenner]
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
JAN WOOLF relishes an extensive history of our long relationship to trees in Britain that underlines the current emergency
DIANE WATT argues that while evidence of sex is not there, a 16th‑century lesbian poet could be Scotland’s answer to Gentleman Jack
The Mountaintop
Royal Exchange Theatre
Manchester
ON April 3 1968 Martin Luther King Jnr (MLK) addressed a rally in support of black sanitation workers on strike in Memphis.
The rally was part of a nationwide tour in support of the “Poor People’s Campaign.” The multi-racial campaign was established to fight for economic and social justice across the States.
Recognising that black civil rights was impossible under the political and economic system in the US, MLK broadened his campaign to include support for the anti-Vietnam war movement and to argue for socialism. The following night while standing on the balcony outside room 306 of the Lorraine Motel he was shot dead.
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ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
PAUL FOLEY revels in the coolest, most joyful piece of theatre you’ll get this summer
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship