CHRIS SEARLE welcomes a startling vision of contemporary Newport from a veteran photographer of the British working class
Latest editorial
Must-see drama sparks burning questions on Grenfell disaster
Truthful: Bianca Stephens and Alice Franziska
[Ali Wright]
ANGUS REID recommends a very unusual documentary: a love story between two disillusioned journalists
In verse and polemic, the bard points out that he is a poet and musician, not a political party
MARIA DUARTE, JAMES WALSH and ANDY HEDGECOCK review The Invite, My Father’s Island, Nirvanna: the Band, the Show, the Movie, and Oh My Goodness!
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
GEOFF BOTTOMS recommends the unashamedly light-hearted escapism on offer in this stage version of the 1963 film
The Burning Tower
Kensal House, London/Touring
THEATRE presented in the heart of the community it represents is all too rare. But SPID (Social Political Innovative Direct) Theatre — is an award-winning youth charity that does just that. Specialising in community art on council estates, it has a track record of capturing real-life stories and giving voice to the unheard.
Based in Kensal House under the shadow of Grenfell Tower, the company had no option but to respond to the terrible tragedy on their doorstep, not easy when emotions are at their peak and shock obliterates even the simplest of words.
The result, though, is the complex and heartfelt interactive drama Burning Tower, after the tarot card image signifying drastic and dramatic change and turmoil.
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YVETTE WILLIAMS and JOE DELANEY dissect the institutional dawdling that rubbed salt into the Grenfell open wounds prolonging the agony of survivors
MARY CONWAY applauds the timely revival of Miller’s study of people fatally deformed by the economics of survival
MARY CONWAY is spellbound by superb performances in Arthur Miller’s study of the social and personal stress brought about by Nazi Germany’s Kristallnacht
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class