KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
The Daughter-in-Law
Arcola Theatre, London
THIS is a vivid revival of DH Lawrence's tale of working-class grit and deprivation, unstaged until well after his death.
It had to wait until 1967 for its premiere, but it has aged gracefully with its themes of class, sex, liberty and bondage still ringing true more than a century after it was written. It's set amid the simmering tensions of the 1912 national coal strike, which inevitably boil over in the Gascoigne home when Mrs Purdy (Tessa Bell-Briggs) arrives, bearing news of a scandal.
The action begins at the family table, where the conversation between Mrs Gascoigne (Veronica Roberts) and her youngest son Joe (the delightfully crisp Matthew Biddulph) reveals that they are both a product of their circumstance.
Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY
JAN WOOLF is beguiled by the tempting notion that Freud psychoanalysed Hitler in a comedy that explores the vulnerability of a damaged individual
MATTHEW HAWKINS recommends three memorable performances from Scottish dance artists Barrowland Ballet, In the Fields Project, and Wendy Houston
DENNIS BROE finds much to praise in the new South African Netflix series, but wonders why it feels forced to sell out its heroine


