JAMES WALSH recommends an exceptional documentary about the experience of Western doctors in Gaza
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God botherer with a memorable mission
GORDON PARSONS sees a production of Tamburlaine which brilliantly captures the protagonist's sacrilegious assault on the notion of a divine being
Outstanding: Jude Owusu (left)
[Pic: Ellie Kurtz]
KEVIN DONNELLY suggests that the task of transforming cultural spaces is far from over and that photography still has a key role to play
RITA DI SANTO talks to Scottish-Irish filmmaker MARK COUSINS about his new panorama of world cinema The Story of Documentary Film
ALAN MORRISON welcomes a new collection from the most imaginative and committed ecopoet of our time
CAL McBRIDE relishes the lyrical truth of an unstable identity in an over-tidy and conventional social realist treatment
New releases from Shearwater, Florry, and Navy Blue
CHRIS SEARLE welcomes a startling vision of contemporary Newport from a veteran photographer of the British working class
MICHAEL BOYD, who ran the RSC for nine years from 2003, returns to Stratford with a play posing particular problems for modern audiences and makes it speak directly to them with the company’s most assured production in recent times.
Through his dramas, Christopher Marlowe — anarchist, atheist and sexual free-wheeler — delivers the ultimate question of Renaissance humanism. In a world without gods, can man become his own deity?
Master of the mighty line, Marlowe’s language has little of Shakespeare’s fluidity and less of his variety. Nor, driven by insatiable ambition, do his tragic heroes have the questing ambiguity characteristic of the Bard’s protagonists.
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GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
GORDON PARSONS salutes the apt return of Brecht’s vaudevillian cartoon drama that retains the vitality of the boxing or the circus ring
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today