Sarah Lawson reviews a debut novel by Shanta Acharya which deals engagingly and touchingly with a young woman’s hopes and disappointments in India during the 1960s.
Alan Ayckbourn has always had a fascination with the mechanics of things. His plays, as a colleague once wrote, often resemble the internal intricacies of a Swiss watch. He just likes winding things up, seeing how far he can push dramatic possibilities and the occurrence of things happening simultaneously.
Willy Loman is to 20th century drama what Lear is to classical theatre. A titanic figure, he’s one of Arthur Miller’s greatest tragic creations. An achingly desolate symbol of the American dream gone sour, he stands, like Lear, as one of the summits of an actor’s career.
An exhibition of the extraordinary output of France’s Henri Cartier-Bresson, hailed as the founder of photojournalism and “the eye of the century”. That is true in the fullest sense of the words, given his exceptional ability to see the telling detail, or, in his own words, to seize the fact related to “the deep reality”.
Paul McLoughlin finds an appropriately lyrical way to show his appreciation of a new collection by Richard Kell
Michael Bartholomew-Biggs finds Joël Dicker’s weighty novel to be a good solid, holiday read .
Three women are Joan. All trying to save history from itself. This is a highly physical, darkly funny and entrancing work of theatre.
Matchbox Theatre – An Evening of Short Entertainments (Hampstead Theatre, London) – review by Carole Woddis.
In his own elegant way, Michael Frayn has gone about his career questioning, pilloring and turning the chattering classes, the intelligentsia and middle class mores generally on their heads whilst celebrating them and theatre itself with rare, witty intelligence.
Emma Lee admires Mandy Kahn’s debut collection for its spare evocative lyrics
David Cooke gives an appreciative overview of a comprehensive new anthology of Russian poetry
Ask most people to name something beginning with ‘x’ and they will likely say ‘X-Box’, ‘X-Factor’ or ‘xylophone’. Far fewer will think of ‘xenophobia’. This is a sad reflection of an oversimplification that has crept into our political discourse.
I Wish To Die Singing – Voices from the Armenian Genocide (Finborough Theatre, London) – review by Carole Woddis.
It must be an irony lost on few immediately involved that along with the panoply of remembrances around the Gallipoli centenary at the weekend, April 24, 2015 also marked the `anniversary’ of the slaughter of innocents that has come to be known as the Armenian genocide.