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?
A play openly proud about working class identity
PAUL FOLEY speaks with JADE LEWIS, the director of SWEAT at Royal Exchange Manchester
RISING STAR: Award-winning Jade Lewis during rehearsals of SWEAT
[Ella Mayamothi]
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
JADE LEWIS is one of the rising stars of British theatre. A talented director and writer who has won many plaudits for her work. Starting her career at the Young Vic, Jade went on to direct acclaimed plays at the Gate and Bush theatres in London.
Earlier this month she won an Olivier for her show Sleepova. She’s now taking on US playwright Lynn Nottage’s Pulitzer Prize-winning play SWEAT at the Royal Exchange theatre Manchester. I caught up with her on the eve of the Press Night.
What strikes you about Jade is her class-consciousness. From a working-class family, she is passionate about giving prominent voice to working-class communities in theatre spaces across the country.
Similar stories
PAUL FOLEY revels in the coolest, most joyful piece of theatre you’ll get this summer
For generations black women have shaped Britain’s activism, arts and public life despite exclusion and discrimination. ZITA HOLBOURNE pays tribute to these political trailblazers and cultural icons, whose courage continues to inspire
In his second round-up, EWAN CAMERON picks excellent solo shows that deal with Scottishness, Englishness and race as highlights
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today