THE ART OF LIVING

MARIANkA SwAIN shares her capital cultural highlights

EXHIBITION aNDreasgursKY FILM three BillBOarDs The Hayward Gallery reopens in style –following airports, stores and an Amazon warehouse – OutsiDeeBBiNg, MissOuri two years of refurbishment and now marking capitalism in action. There’s also the extraordinary its 50th anniversary –with the first major expanses of nature: looming mountains or an UK retrospective of atitan of contemporary endless stretch of grey river. Oscar-tipped Frances McDormand is riveting There are great turns, too, from Clarke Peters photography: the acclaimed German artist as the foul-mouthed avenging angel in Martin –shades of TheWire in his officer’s wry AndreasGursky. Blending documentary insight with the panache of McDonagh’s latest: the tale of amother seeking professionalism –Peter Dinklage as Mildred’s visual abstraction, it’s our world reflected back at justice for her rapedand murdered daughter in opportunistic admirer, John Hawkes as her Featuring around 60 pieces, from the early 1980s us – teeming with familiar wonders, triumphs and small-town USA. abusive ex, and Samara Weaving hilarious as his through to his most recent work, it’s astunning problems, and yet made infinitely strange. astonishingly dim new flame. demonstration of Gursky’s revelatory bird’s-eye – Aided by McDonagh’s poetic use of profanity and or even godlike –view. Often shot from an elevated pitch-black comic violence, it’s aWestern-tinged In this grim but touching parable, anger gives way vantage point, human beings are reduced to specks UNTILUNTIL APRILAPRIL 2222 movie that constantly surprises, bringing texture to redemption, brutality to wistful reflection on in avast, panoramic portrait of contemporary life. Hayward Gallery, Bankside SE1 to McDormand’s righteous but far from saintly mortality, and nihilistic chaos to the possibility of Adults £14.50, under-12s free Mildred, Woody Harrelson’s embattled police chief, understanding and healing. Though not without a Gursky’s subjects range from abusyChicago www.southbankcentre.co.uk and even Sam Rockwell’s idiot racist cop. few Molotov cocktails along the way… trading floor to mega-farms, financial high-rises,

‘Les Mées’, 2016 THEATRE the BirthDaY partY

Harold Pinter’s play bewildered on its debut 60 years ago; now, Ian Rickson’s detailed revival cements it as a classic. Subverting the seaside thriller popular in rep when Pinter was a jobbing actor, it introduces his powerful tropes: witty, dreamlike absurdities, and menace invading

Magers the mundane.

Spruth Stanley is the sole guest of Petey and Meg’s rundown boarding house – until the sinister 2017, Goldberg and McCann come to claim him. Zoë Wanamaker and Peter Wight create a wealth of unspoken history, suggesting Meg’s distraction

Gursky/DACS, signals dementia, and that Stanley is their vital eas ‘99 Cent II’, 1999/2009 surrogate son. Andr Tom Vaughan-Lawlor provides a furiously paranoid McCann, and superbly handles the rat-a-tat interrogation with . The latter COMMUTER laces geniality with danger, but loses the intensity towards the end. Pearl Mackie brings chipper cOrNer charisma to the underwritten Lulu. But the standout is as Stanley: a The Mermaid and Mrs Hancock,Imogen Hermes demanding infant with amanic gleam, whose Gowar’s sumptuous debut novel (hardback bullish defence crumbles –the individual broken by £12.99, Kindle £7.99), delves into Georgian the system. Though spot-on Fifties (evocative Quay London and the slippery tale of amerchant who Brothers design), it strikes the current mood of comes into possession of what appears to be a uncertainty and apastthatslips out of our grasp. mermaid. Theattention it garners leads him into high society and arelationship with an ambitious courtesan. Rich and humorous, it’s aheady UNTILUNTIL APRILAPRIL 1414 Persson period whirl with amagic realist twist. Theatre, Piccadilly SW1Y

Tickets from £15 Johan

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