Emma Storr is drawn into Gareth Writer-Davies’s poetic reflections on mortality
Carla Scarano considers a dystopia convincingly described in a prose-poem sequence by Carole Coates
When first performed in 1851, Rigoletto was explosive because of its implied criticism of a corrupt king. In pursuit of a comparable political edge, director James Macdonald transfers Verdi’s tragedy from Renaissance Mantua to a fictitious 1960s White House.
Visionary artist and poet William Blake (1757-1827) said he alternatively cursed and blessed engraving. “It takes so much time and is so untractable (sic), though capable of such beauty and perfection,” he said in a statement that takes us to the heart of his wild and wilful talent.
The revolutionary attitude that Mary Quant’s iconic outfits convey strikes the viewer at the V&A retrospective exhibition. She is considered one of the most influential fashion designer of the 1960s.
Thomas Ovans is moved by Steve Rudd’s very personal poems about the NHS
Michael Bartholomew-Biggs is drawn into a mysterious world conjured up by Michael Loveday’s enigmatic prose pieces
D A Prince commends Tom Sastry as a poet who looks at the world in fresh ways while still leaving space for his readers
Maria C. McCarthy reviews a new short story collection by Anne Walsh Donnelly
As You Like It is one of Shakespeare’s most crazy comedies and one of his most tedious plots.
Emma Lee follows poems by Victoria Gatehouse as they take a sometimes clinical view of the journey from young woman to parent
by Julia Pascal • added recently on London Grip, performance, theatre • Tags: Julia Pascal, performance, theatre •
I saw Kantor’s extraordinary and original creations at London’s Riverside Studios during the 1980s. His fusion of Catholic and Jewish history, evocations of war, agony, dreams and terror, remain seared in my brain.