DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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The Night of The Iguana, Noel Coward Theatre, London
Production of a Tennessee Williams play doesn't live up to its promise
In disgrace: Clive Owen as Reverend Shannon
[Brinkhoff Moegenburg]
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
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
HEAVILY influenced by a summer Tennessee Williams spent in Tahiti in 1940, The Night of The Iguana is an odd mixture of elements.
It’s like a jigsaw puzzle whose striking individual pieces are all present but, assembled as a whole, fails to live up to expectations.
Rae Smith’s tropical set — a Mexican hotel that’s little more than a few corrugated shacks overlooking the sea adjoining an imposing rock face — is the faintly allegorical setting for a diverse group of people who, breaking or ending their journeys, deliberate on and remonstrate about their lives.
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