Alvin Ailey American Dance Theater stunned audiences this month with three dazzling dance programmes at Sadler’s Wells. Here, Eirini Diamantouli reviews their final programme featuring new works Ounce of Faith and Members Don’t Get Weary, and classics Ella and Revelations.
For women in Northern Ireland and a post-Repeal Republic telling stories which speak from the body and its traumas remains a powerful tool, argues Laura Hackett when considering the work of Sally Rooney, Lucy Caldwell, Sinéad Gleeson and others.
Tara Overfield-Wilkinson’s revival of Falsettos, the Tony award-winning musical about an unconventional New York Jewish family, is a worthy and emotionally powerful production, writes our theatre critic Jo Hemmings.
The Hayward Gallery’s current exhibition, Kiss My Genders, displays an array of international artists whose daring and thought-provoking works open up infinite possibilities with regard to gender.
Victoria Smith is captivated by Lanny, Max Porter’s long listed Booker Prize novel about the disappearance of a little boy from an English village. Here, Smith reviews the novel against Porter’s 2015 debut, Grief is the Thing with Feathers.
I’ve found comfort in procedurals including State of Play, Spotlight, Miss Sloane and Denial, but now I’m moved by doubts about how they fit into an increasingly extreme political climate, writes our arts contributor Olivia Scott-Berry.
An Iron Age re-enactment in Northumberland takes a brutal turn in Sarah Moss’ Ghost Wall. With parallels to Brexit Britain, Moss’ slender novel is a coming-of-age tale with a twist.
Artists 4 Artists prove that they’re at the forefront of dance innovation and theatrical talent, with their double bill of Christopher Reyes’ Sean and Kloé Dean’s Man Up at the Laban Theatre.
MADHEAD is the latest phenomenal dance production to come from Olivier Award-winning choreographer, Botis Seva, in collaboration with dancers from the National Youth Dance Company. Here, Hannah Hutchings-Georgiou discusses its themes of generational (dis-)connection, inner conflict and the power of young people.
Joanne Ramos’ ambitious debut novel, The Farm, questions the ethics of surrogacy and charts the lives of four women who become involved in a spa-like fertility facility in a bid to have a more secure, comfortable life.
