MARIA DUARTE and MICHAL BONCZA review Virginia Woolf’s Night & Day, Familiar Touch, Nino, and Toy Story 5
Latest editorial
Labour of love
MARY CONWAY recommends an affectionate portrayal of Clement Attlee, whose post-war election as prime minister heralded the dawn of the welfare state
Excelling: Roger Rose (left) as Clement Attlee
[Mark Thomas]
MATTHEW HAWKINS explores the initiatives proposed by HEALING ARTS SCOTLAND
ALEX HALL welcomes an analysis of how modern capitalism is deeply intertwined with emotions, and their manipulation
MARTIN GRAHAM welcomes a statistical analysis of how much tax the super-rich pay, and foresees that the demand will flush out their agents
RICHARD WORTH relishes the fleeting moment and sense of flow of the late, great saxophonist
DENNIS BROE notes the thin, unfunny and apolitical quality of the gruel dished up by the US networks and studios for mass consumption
BARBARA BOSWELL remembers South African poet, storyteller, publisher, editor and activist Diana Ferrus (1953-2026)
A Modest Little Man
Bread and Roses Theatre, London
FRANCIS BECKETT'S A Modest Little Man transports us to an era when the future sizzled with hope and politicians were braced to transform lives forever.
It’s set at the time when the Labour government, headed by possibly the greatest prime minister of the 20th century, calmly and purposefully turned dreams into reality and created a global example.
As if to rub salt into current wounds, the opening night fortuitously coincided with the momentous Brexit vote in Parliament.
Similar stories
JULIA TOPPIN recommends Patti Smith’s eloquent memoir that wrestles with the beauty and sorrow of a lifetime
Following comments made by Robert Jenrick about the people of Handsworth, the TUC, together with 12 trade unions representing members who live and work in the area, have issued a joint letter calling for the Conservative Party to take immediate action
MARY CONWAY is blown away by a flawless production of Lynn Nottage’s exquisite tragedy
MARY CONWAY revels in the Irish American language and dense melancholy of O’Neill’s last and little-known play