MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
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Dangerous bedroom reverie
WILL STONE is left wanting more by an immersive show that is within reach of greatness but doesn't quite grasp it
An audience member explores Viola's room
[Julian Abrams]
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
KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
Viola’s Room
The Carriageworks, Woolwich
PUNCHDRUNK, the vanguard of immersive theatre, has made the giant Carriageworks (two former arsenal buildings in Woolwich) their headquarters since launching their last big work, The Burnt City, there in 2022.
The wildly ambitious and atmospheric production of The Burnt City, themed around the fall of Troy, saw punters donning masks as they followed any actors they chose around the cavernous site.
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