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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Light Falls, Royal Exchange Theatre Manchester
Missed opportunity to shed light on complex northern realities
In meltdown: David Moorst as Steven in Light Falls
[Manuel Harlan]
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
SIMON STEPHENS’S new play marks the last production from the Royal Exchange’s artistic director Sarah Frankcom before she takes over the reins at LAMDA drama school.
One of the country’s finest directors, she has reshaped the Exchange into a theatre with international renown and over the past decade her innovative work, especially wonderful collaborations with Maxine Peake, have thrilled audiences.
That’s not necessarily the case with Light Falls, inspired by a road trip she took in 2016 with Stephens across the north of England, visiting Warrington, Blackpool, Ulverston, Doncaster and Durham.
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PAUL FOLEY revels in the coolest, most joyful piece of theatre you’ll get this summer
SYLVIA HIKINS recommends a fascinating, revealing, superbly acted evening of theatre
Still the only black man to win the US Open tennis title, a statue of the legendary champion, Arthur Ashe, is now the only one remaining on Monument Avenue in his Richmond, Virginia hometown, where confederate leaders of the Civil War were also once displayed, writes LINDA PENTZ GUNTER
The creative imagination is a weapon against barbarism, writes KENNY COYLE, who is a keynote speaker at the Manifesto Press conference, Art in the Age of Degenerative Capitalism, tomorrow at the Marx Memorial Library & Workers School in London