Latest editorial
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?
Shakespeare in another space
Northampton’s Royal and Derngate theatre is marking the 400th anniversary of William Shakespeare’s death with a production of The Herbal Bed, first produced at the legendary Other Place theatre in Stratford-upon-Avon. PETER FROST reports
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
THE Royal and Derngate’s artistic supremo James Dacre is never predictable and his latest contribution to the Shakespeare commemorations is The Herbal Bed by Peter Whelan, a play exploring the life of Shakespeare’s daughter.
Directed by James Dacre for English Touring Theatre, it is a remarkable production of a remarkable play.
It was written in the 1990s, when the Nolan Committee had laid down some basic principles on standards in public life and just as John Major’s Tory government carried out the most blatant lying whitewash with the Scott report on British arms dealers’ corruption abroad.
Similar stories
GEORGE FOGARTY is dazzled by a breathtakingly skillful puppet version of Shakespeare’s greatest love poem
GORDON PARSONS salutes the apt return of Brecht’s vaudevillian cartoon drama that retains the vitality of the boxing or the circus ring
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today