Go and see Vamos Cuba! But don't buy a programme!

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Created: Friday, 27 October 2017 11:42
Written by Nicki Jameson

vamos cuba

Vamos Cuba! Peacock Theatre, Portugal Street, Holborn, WC2A 2HT, London

24 October - 11 November 2017 Tickets from £15

Go and see Vamos Cuba! The dancing is enthralling, fluid, mind-blowing; the spectacle amazing, and the whole evening unmissable!

Choreographer Nilda Guerra has set the piece in Havana Airport, where a flight to Miami is delayed (we speculated that this is due to Trump reversing Obama’s relaxations on travel between the US and Cuba) and all sorts of dramas are played out between the delayed passengers and airport staff. We watch the soured relationship between the captain and a stewardess and the incipient love affair between the airport janitor and a stranded passenger, plus lots of other leit motif pieces (such as the vicar who is a pickpocket) – in fact everywhere you look there is a story and you could probably watch this performance every night and find something different you’d not noticed before.

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Shy Radicals – a manifesto for the quiet revolution

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Created: Friday, 27 October 2017 11:35
Written by Nicki Jameson

shyrad radicals

Shy Radicals: the antisystemic politics of the militant introvert by Hamja Ahsan, published by Bookworks, 2017, £9.95

Shy Radicals is a ‘what if?’ book. What if everyone who suffers from anxiety, depression or agoraphobia, all those with diagnoses of autism or Aspergers’ syndrome, and everyone who is simply shy or socially awkward and has ever suffered for it, banded together and employed methods of political struggle to turn themselves into a liberation movement?

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Review: Being Sebastian 

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Created: Monday, 02 October 2017 18:23
Written by Louis Brehony

Contact Theatre, Manchester, 27 September 2017

In these times of capitalist commercialism, theatre is rarely accessible to working class and oppressed people. Even performances of plays written by socialists like Brecht or Oscar Wilde are co-opted by the market, pricing the poorest out of the action and forcing independent writers and performers to eke out a living in unfunded community locations. But every now and then the sugar-coated stylings of the West End are challenged in creative terms by realist visions exposing the horrors of the system. Being Sebastian, a solo play written and performed by the talented Mancunian Sean Cernow, is a display of the bitingly grim reality at the heart of the British prison regime.

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The true banner of capitalism: 'sterilise the weak, abuse the poor, exploit the dependent'

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Created: Friday, 21 April 2017 14:48
Written by Alvaro Michaels

Throughout Scandinavia, in France, the USA, Switzerland and in many other leading Capitalist nations, a vicious policy of 'eugenesia' has been promoted over the last 50 years. Its stated aim – nurturing the strong and cleansing the weak ('racial improvement') – is to ensure the health necessary to capitalistically exploitable labour whilst ridding society of its 'useless', 'burdensome' population. Deliberate inhumanity. With the development of 'genetic engineering' and with science held under lock and key by profiteering industry, the abuses perpetrated by capitalism on women, the poor and the sick can only become more insidious.

Racial 'purification' and 'cleansing' has always been a tool of the most reactionary and vicious regimes, but as the revelations in August 1997 of the forced sterilisation of at least 73,000 thousand women throughout Scandinavia (60,000 in Sweden, 11,000 in Denmark, over 1,000 in Finland and over 1,000 in Norway) from 1935 to 1976 show, such ideas are endemic in modern 'democratic', bourgeois societies.

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One to miss

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Created: Wednesday, 05 April 2017 14:14
Written by Patrick Newman

Revolution: Russian Art 1917-1932

Royal Academy of Arts, 11 February – 17 April, £16

(Gallery guide £2.50)

Designated ‘a thrilling, chilling show’ by the Financial Times, the gallery guide to Revolution: Russian Art 1917-1932 correctly notes:

‘The freedom and euphoria of the Revolution produced some of the most remarkable talents in art, theatre, music literature and architecture.’

The next sentence, however, is a clue to the politics of the exhibition:

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