PAUL DONOVAN is chilled by the contemporary resonance of Harper Lee’s coming of age tale amidst racism and white supremacy in this excellent production
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Interview: Truth-seeker in the Libyan warzone
Writer REGGIE ADAMS tells Joe Gill what impelled him to write the politically charged play An Interview With Gaddafi
GEOFF BOTTOMS recommends the unashamedly light-hearted escapism on offer in this stage version of the 1963 film
Full of mysterious religious references and radical sound design, the Scottish duo’s new offering is candidate for album of the year, suggests SIMON DUFF
MARY CONWAY revels in a powerful reminder that human lives are not defined by physical perfection
PAUL DONOVAN recommends the fine performances in this account of the pre-war meeting between the US president and the British king
TECLYN AROD relishes an intimate celebration of jazz improvisation that mixes local and national musicians
Under a railway arch in Waterloo a British journalist is interviewing Muammar Gaddafi about the uprising in Libya. It is of course not real but there is a sense of verisimilitude about the tete a tete with the now dead leader in London’s small Waterloo East theatre.
In Reggie Adams’s politically charged new play a washed-out foreign correspondent, played by Jonathan Hansler, grabs desperately at a chance to head into the war zone of Libya in 2011, where he might once again rediscover his lost passion and former glory.
It opens with Hansler being thrown out of his London home by his Chilean wife (Christianne Oliveira) for failing to support her and their three daughters, and for no longer being the crusading journalist she fell in love with years before.
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ANGUS REID and ANDREW JOHNSTONE report on an initiative that we must take this summer
RAMZY BAROUD and ROMANA RUBEO analyse how the US has consistently negotiated in bad faith to secure the element of surprise in military attack
On January 2 2014, PJ Harvey used her turn as guest editor of the Today programme to expose the realities of war, arms dealing and media complicity. The fury that followed showed how rare – and how threatening – such honesty is within Britain’s most Establishment broadcaster, says IAN SINCLAIR
