MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
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What we were – and still are
The Globe Theatre's productions of Shakespeare's history plays show how acutely they mirror a divided country, says MARY CONWAY
Explosive: Michelle Terry as Hotspur
[Tristram Kenton]
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
SHAKESPEARE was not a king nor even a man in power. He was a jobbing playwright whose itinerant lifestyle allowed him to observe life in high and low places and to use the fads and foibles of the world at large as fodder for his incomparable talents.
His history plays, timeless favourites on the British stage, sometimes appear as immutable period pieces and often they are brandished like the Union Jack to incite nationalism.
But, always, they explore the fragility of the crown and its quest for power.
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