DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Misbehavin’ brilliantly
MICHAL BONCZA sees a musical based on the music of Fats Waller that's about as good as it gets
Ebullient: Wayne Robinson and Carly Mercedes Dyer
[Pamela Raith]
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
Ain’t Misbehavin’
Southwark Playhouse, London
THE FIRST thing that hits you as you enter the horseshoe arena housing Ain’t Misbehavin’ are the onstage arches glittering with lights. A master stroke from designer Takis, they joyfully invoke the “Harlem Renaissance” of the 1920s when Fats Waller and Louis Armstrong were all the rage.
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