family relationships
Harriet Mercer
Derek Owusu’s debut That Reminds Me won the Desmond Elliot Prize in 2020. When asked what it was that she loved most about Owusu’s semi-autobiographical 117-page book, Preti Taneja, chair of the judges (and winner of the prize herself in 2018) answered, without hesitation, “the form” and Owusu’s “compression of poetic language”. Owusu’s latest work, Losing the Plot, imagines what life was like for his 18-year-old mother when she arrived in London from Ghana in 1989. His fictional narrator’s mother swaps the “dusty trails of Jamasi” for the grey pavement of Tottenham, “a village of disguised Read more ...
Gary Naylor
I’ll confess to a certain schadenfreude when the American televangelists who seemed so foreign to us Brits were led away to be papped on their perp walks, ministers in manacles: One big name after another skewered on their own hubris, gulling the gullible out of their savings and shoe-horning right-wing ideologues into political and judicial office. Thank God (ironically) that we’re too smart for that kind of nonsense in Europe. How’s that turning out then? Perhaps it was the lockdown; perhaps it was the recent excellent film, The Eyes Of Tammy Faye; or perhaps it was just getting Read more ...
India Lewis
Cormac McCarthy’s first books in over a decade are coming out this year, a month apart from one another. The Passenger tells the story of deep-sea diver Bobby Western, desperately in love with his perfect, beautiful, wildly intelligent dead sister, Alicia. Then, Stella Maris is her story, named after the asylum to which she commits herself.The Passenger is classic McCarthy fare: totally abstruse, excellently descriptive, and frustratingly digressive. It has elements of many of his previous novels, the strongest being the narrative of the perpetually wandering anti-hero. Western is a very Read more ...
India Lewis
Tense with horror and the sticky darkness of the Argentinian night, Mariana Enriquez’s writing is rich and occult. Her epic novel, Our Share of Night, vividly translated from the Spanish by Megan McDowell, follows on from her short story collections Things We Lost in the Fire and The Dangers of Smoking in Bed. In this, her first novel to be translated into English, she delves further into a lushly violent and erotic world.Our Share of Night is set in the aftermath of the Argentine military junta’s worst excesses. The book begins in 1981 (the dictatorship ended in 1983) and the Read more ...
Gary Naylor
Brecht – as I suppose he intended – is always a shock to the system. With not a word on what to expect from his commitment to the strictures of epic theatre in the programme, a star of West End musical theatre cast in the lead and a venue with a history of more user-friendly shows, some are going to have to sit up straight in their seats from the very start – including your reviewer.This new production, the first in London for 25 years, opens on a present day refugee camp, displaced people squabbling over who gets to go home first and what support they can expect when they get Read more ...
Gary Naylor
It’s hard to keep up with what terms are in vogue amongst those who insist on classifying and vilifying young people, but one that you don’t hear so often these days is NEET (Not in Education, Employment or Training). Back in 2015 when Gary Owen's lauded monodrama Iphigenia In Splott premiered, Effie was a NEET, and a proud one to boot.She is seen living the hedonism worthy of a fortnight in Ibiza for 52 weeks a year in er… Splott, a district of Cardiff, shit-faced, smoking and shagging. Effie may be a failure of society, but she's loving her life. Or so the lady protests. When she meets Read more ...
Helen Hawkins
The gifted writer-director Stefan Golaszewski (Him and Her, Mum) has surpassed himself with his latest drama series, Marriage. Given hour-long episodes to play with, rather than the usual half-hour, he has created an unfeasibly rich four-parter out of the simplest of means.We are in Golaszewski’s usual world of bedded-in domestic routine, where characters often hide their feelings and assume it’s just what you do. It looks like a comedy of modern manners, but it’s a minefield. Tonally, it’s in gradations of beige, pale grey and watery green, both visually and emotionally; then, much like the Read more ...
Gary Naylor
Alexei Sayle, in his angry young man phase, once said that you can always tell when you’re watching a Shakespeare comedy, because NOBODY'S LAUGHING. That’s not entirely true, of course, but sometimes a director has to go looking for the LOLs and make a few sacrifices along the way in their pursuit. And, boy, oh boy, does Sean Holmes go looking for the laughs in this production of The Tempest – and don’t we suffer a few sacrifices as a consequence.The storm itself is a bit of water sprayed on The Globe’s famous groundlings, with our aristocrats boozing and partying like superannuated Club 18- Read more ...
David Thompson
The trailer for Panah Panahi’s award-winning first feature Hit the Road is one of the most misleading I’ve yet seen thanks to its jaunty Western pop soundtrack and reassuring caption that the movie resembles an Iranian Little Miss Sunshine.Yes, it’s a pleasurable road movie dealing with a bickering family packed into a car and making a trip that will affect all their lives, and they do burst into communal singing from time to time. But the music they enjoy are songs from pre-Revolution Iran, and for all the comic delights en route, the film has a deeper political resonance than most Read more ...
Harriet Mercer
The word “shrine” somersaults me back to the path of the Camino de Santiago. I have lost count of the faces that smiled up from photos positioned in the hollow of trees, some with little plastic figurines for company, others set in stone next to a sculptural pile of pebbles. Some of the shrines also sheltered a handwritten prayer or a crucifix; most had burnt-out tea-candles.Phoebe Powers imagined her debut poetry collection, Shrines of Upper Austria, “as a shrine: a gathering of objects, words and images important to someone, both as discrete objects and as a composition”. Her second poetry Read more ...
Gary Naylor
Music plays a big part in the life of Dwight, an 11-year-old black lad growing up in early 80s Leeds. He doesn't fit in at school, bullied because he is "slow", and he doesn't fit in outside school, would-be friends losing patience with him.But he does fit in at home, loved unequivocally by a protective mother, somewhat enviously by a bickering sister, and rather reluctantly by a preoccupied father. Like the records he plays on the gramophone, his life is about to spin – and he'll have to hold on to the warmth of family love in a cold world.Zodwa Nyoni's new play for the Kiln Theatre packs Read more ...
Gary Naylor
Rebecca Lenkiewicz's adaptation of August Strindberg's 1900 paean to the power of loathing over loving uses the now familiar trick of dressing characters in period detail while giving them the full range of the 21st century's argot of disdain and distress.Indeed, the spectacular sprinkling of the C-word (indeed, pretty much the A-Z words) here jolts us into the thought that though divorce laws may be more liberal these days, marriages can still limp on with each party secretly (or not so secretly) waiting for the release that only death can bring.Roll in medical interventions that prolong Read more ...