First published in The Times, Friday November 8 2019
The story goes that Disney considered acquiring the rights to Barry Hines’s 1968 novel A Kestrel for a Knave but withdrew their interest when the author refused to change the book’s downbeat ending. That the non-bowdlerised adaptation, directed by Ken Loach, has proved so enduring since its release 50 years ago is testament to a widespread acceptance on the part of audiences that stories about children need not always be sugary or optimistic.
First published in The Times, Monday October 15 2018
Each instalment in Oliver Emanuel’s trilogy exploring the forgotten voices of the First World War has felt distinctive, both in focus and atmosphere. Indeed, this concluding part, Dusk, is the only one of the sequence to be staged in a traditional proscenium-arch theatre. Dawn, which reimagined the stories of three young men shot for cowardice or desertion, took place in a converted barn on a Perthshire farm, while Day, which gave voice to women munitions workers and suffragettes, premiered in a room in the city’s Station Hotel.