Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
An energising stroll down a '60s memory lane
MICHAEL STEWART is transported breathtakingly back to the vitality of the 1960s
The cast
[Darren Bell]
ANGUS REID considers the power of the podcast as a vehicle for consensus building in opposition to mainstream media narratives
GLENN FOSBRAEY recommends a biography worth reading for both existing George Michael fans and those yet to be converted
FRANCIS DEVINE introduces a new collection of essays that draws on Pease McKenna’s example to indicate future paths for the movement
KEVIN DONNELLY and MARIA DUARTE review Shoot the People, The Last One For The Road, Rosebush Pruning, and Moana
JAMES WALSH recommends an exceptional documentary about the experience of Western doctors in Gaza
Summer in the City
Upstairs at the Gatehouse
OVATION’S Christmas show is a jukebox musical in which the tunes burst out of the jukebox and threaten to throttle the story. But that’s no great pity as the plot is only a device to showcase the songs of the ’60s. And what wonderful songs they are, full of vitality and heartfelt emotion, throbbing with joy.
Audiences of a mellow age are time-warped back to those heady days to wallow in hazy memories of rock and pop and groovy mayhem while younger people will find out just what they have missed.
Set in a cafe in Carnaby Street Soho, (which I assume is modelled on the 2i’s coffee bar which spawned rock’n’roll in this country), whose owner Hetty (Helen Goldwyn) a wise, Jewish mother hen type employs as coffee boy Sam (Connor Arnold), a square-jawed American who’s a dead ringer for Superman and delivers the coffee with oodles of entrepreneurial pizzazz and go-getterism.
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