wed 08/07/2020

Brighton

Mark Townsend: No Return review - a masterclass in journalism

When Amer Deghayes departed for Syria in a truck leaving from Birmingham, a worker from a youth arts organisation in Brighton had been trying to get in touch with him. She wanted to inform Amer, an intelligent and creative 18-year-old who had once...

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One Man, Two Guvnors, National Theatre at Home review – bliss, utter comic bliss

Armchair theatre-lovers rejoice. During the lockdown, the National Theatre is streaming a selection of its past hits for free for one week at a time. These shows, originally filmed as part of the flagship’s NT Live project (which broadcast...

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Brendan Cleary, Great Eastern, Brighton review – last orders

St. Patrick’s Day, and socialising itself, has been all but cancelled. But turn the rickety door-handle of a bohemian pub near Brighton station, and a poignant scene is unfolding. The Irish poet Brendan Cleary’s reading has been officially called...

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Brighton Festival 2020 launches with Guest Director Lemn Sissay

This morning the largest annual, curated multi-arts festival in England launched and announced its programme of events. With Guest Director, British and Ethiopian poet-playwright-broadcaster Lemn Sissay, MBE, at the helm, Brighton Festival 2020 is...

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Album: Electric Soft Parade - Stages

18 years ago, Electric Soft Parade, centred around brothers Alex and Thomas White, were the latest hyped hope of indie kids and NME-type media. However, their might-have-been moment imploded when they moved too fast for their fans, rocketing off in...

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Elf Lyons, Komedia, Brighton review - bonkers, brilliant and a bit of bare bum

Elf Lyons’ new show, Love Songs To Guinea Pigs, has moved away from her usual slapstick and absurdist mimicry into new realms of traditional stand up. She cites the reason as being unable to do mime on the radio, but there’s a more serious reason...

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Alice Cooper, The Stranglers, MC50, Brighton Centre review - a triple-headed blast of vintage rock

The Ol’ Black Eyes is Back Tour celebrates Alice Cooper’s 50 years using his stage name. He’d been around under other names before 1969 but Alice Cooper – originally the title of the band rather than the man – achieved success as the Seventies began...

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Kano, Brighton Dome review - simply joyous

Kano’s lyrics often sound like a wake, mixing mournfulness and anger as they raise a toast to fallen friends on abandoned estates, casualties of crushing pressures alien to the authorities who pronounce on them in the tabloids and parliament....

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Romesh Ranganathan, Brighton Dome review - transgressive, edgy and very likeable

One question springs immediately to mind on hearing that Romesh Ranganathan’s new stand-up show, The Cynic’s Mixtape, is touring: how does he find the time? Ranganathan has overtaken Jack Whitehall as Britain’s most media ubiquitous comic, with a...

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Peter Perrett, Concorde 2, Brighton review - it’s a family affair for the former Only One

It’s been a couple of years since Peter Perrett, the former frontman and creative force behind the much loved but commercially under-performing Only Ones decided that he’d had enough of being a mere legend and got back into the musical ring. He had...

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Berlin: True Copy, Brighton Festival 2019 review - tricksy forgery masterclass

This brilliantly conceived and executed show is about provenance in art. It’s also about our perceptions of the truth. However, it’s a show where it would be churlish to reveal too much of what goes on. This is, of course, perverse since some will...

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Tribe//Still I Rise, Brighton Festival 2019 review - an evening of poetic movement

Maya Angelou’s iconic poem Still I Rise is a good starting point for many things in life. But it’s a particularly good beginning for a piece of contemporary dance choreography, and Victoria Fox has done a great job of bringing the poet’s words to...

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