Joanna Pocock speaks to iconic US composer and polymath Phillip Corner as he plays at Hackney’s Café Oto.
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In our latest VAULT round-up, two new writing talents and a unique electronic immersive experience.
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The fractured Abigail at the Bunker Theatre is like watching an episode of Art Attack if the TV had turned off halfway through.
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Swing Time, an outlier in Zadie Smith’s oeuvre, is stylistically interesting, socially aware, funny and wise.
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Lucy Kirkwood’s latest effort is as much about people as about the environment, writes Simon Fearn.
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B.L. Sherrington reviews an impressive stage adaptation of Erich Maria Remarque’s iconic 1928 novel.
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This blockbuster exhibition – the largest retrospective of Abstract Expressionism in the UK for almost six decades – exemplifies the inherent incandescence of great works of art.
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Has the digital era of Facebook and Tinder destroyed the game of love? B.L. Sherrington reviews a pair of plays by an award-winning Australian playwright.
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Nash’s hauntingly powerful images emerge from – not in spite of – his fractious relationship with modernity.
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An Inspector Calls is a GCSE staple, but, asks Emily Bueno, does it really have any relevance?
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Camilla Whitehill’s debut play is short, but it sure packs a hell of a punch.
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The Acedian Pirates, by debut playwright Jay Taylor, is not afraid to take on themes of warfare and the power of myth.
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Where does utopia end and dystopia begin? The boundaries, writes Imogen Woodberry, are very insecure.
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The intoxicating Thick Time is the South African artist’s first major UK exhibition for 15 years.
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A Man of Good Hope brings colour and exuberance to the travails of refugees, writes Becky Latham.
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Austin Wright’s tricksy novel Tony & Susan didn’t make much of a splash in 1993 – but now Tom Ford has given it the Hollywood treatment.
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These two refreshing, unconventional adaptations exemplify the wonder of the London Film Festival, writes Eleanor Franzén.
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On Saturday, Kelly Reichardt’s Certain Women claimed the top prize at the festival awards. It’s entirely deserved, writes Joanna Pocock.
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With the Bush Theatre stripped of a home, this new site-specific festival aims to make a virtue of necessity.
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In No’s Knife, Lisa Dwan goes from being Beckett’s interpreter to his intercessor.
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