STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
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A skillfully crafted nugget of a play
by Simon Parsons
(L to R) Thomas McGee as Jordan and David Lloyd as Yates
[Chelsey Cliff]
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
JAN WOOLF relishes an extensive history of our long relationship to trees in Britain that underlines the current emergency
DIANE WATT argues that while evidence of sex is not there, a 16th‑century lesbian poet could be Scotland’s answer to Gentleman Jack
The Red Lion
Bristol Old Vic, The Weston Studio
PATRICK MARBER’S tightly written three-hander is both a paean and a critique of the beautiful game. Set in a the changing room of a semi-pro, non-league soccer team riding at the top of their league, traditional values and club loyalty face the challenge of the modern financial game.
The clash of ethics plays out around the new wunderkind discovery, Jordan trapped between fallen, local legend and now loyal, club kit man, Yates and bullish, ambitious manager, Kidd.
Thomas McGee does a solid job on his stage debut as the damaged youngster attempting to find his place in the murky world of football arrangements, agents and transactions where his principles and need for success are under strain from the outset.
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SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
