Emma Hanson reviews Julian Henriques’ 1998 musical film, Babymother, and considers the reality of single Black motherhood against its often prejudiced on- and off-screen representation.
Selin Genc takes us on a return trip, economy class, to the Eurovision of the early 00s, where austerity was answered with excessive performances – and a singing turkey!
Artist Michèle Saint-Michel fuses poetry and music with news reportage in her powerful audio piece, The Immortal Charlie Parker. In it, she recounts her experience of reconnecting with a childhood friend during the early stages of the pandemic.
Throughout history Eurydice has been portrayed as a voiceless cypher next to the vocal brilliance of her husband Orpheus. But does the ENO’s 2019 programme of Gluck, Offenbach and Glass alter this? asks our writer Miriam Al Jamil.
Company Concentric’s Play On is not just fun and games, but a performance that explores serious contemporary concerns through the lens of play, writes our contributor Eirini Diamantouli.
Impressively inventive and executed with spy-like precision, Julie Rose Bower’s latest show explodes Foley artistry and ventures into the heartlands of Russian history.
