STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
AS AN artist in residence at the National Theatre, Alexander Zeldin is under a certain pressure to create work that speaks to the state of the nation.
But, unlike many playwrights who look to the upper echelons of society to try analyse the state we’re in — look no further than the lauded work James Graham and David Hare have had staged at the National over the years — Zeldin’s gaze is in the opposite direction.
Rather than the corridors of Westminster, Zeldin’s focus is on the margins of society, to examine what he describes as the “the intimate effects of austerity — the defining policy of the last 10 years.”
Gisele Pelicot said ‘shame must change sides.’ We may think we agree, but, argues LOUISE RAW, society still has some way to go
MAYER WAKEFIELD has reservations about a two-handed theatrical homage to jazz’s most mercurial musician
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth


