sat 01/10/2022

theartsdesk com, first with arts reviews, news and interviews

Mert Dilek
Friday, 30 September 2022
How can this beauty arise from such ugliness? The Crucible, Arthur Miller’s 1953 drama about the Salem witch trials of 1692, is rife with unwavering prejudices, selfish...
Graham Fuller
Friday, 30 September 2022
Andrew Dominik’s Blonde is an atrocity – a ghoulish biopic of Marilyn Monroe that luxuriates in her maltreatment and misery, culminating in protracted images of the star’s lonely...
Demetrios Matheou
Friday, 30 September 2022
It always feels special when a play speaks so directly to an audience that you feel and hear the ripples of recognition across the auditorium. And when disgraced banker John...
Tim Cumming
Friday, 30 September 2022
Album opener “Atapos” was released as a single earlier in September, its sharply angular beats created by Björk and Indonesian duo Gabber Modus Operandi, one of whom has since had...
Hannah Hutchings-Georgiou
Thursday, 29 September 2022
Liminal: a word that conjures thresholds and between states. Caught between three languages – the adjective is a borrowing from the Latin that enters English by way of German –...
Aleks Sierz
Thursday, 29 September 2022
What is the Royal Court theatre for? Is it a space that stages innovative new writing, or does it prefer to do documentary theatre? Is it concerned with reaching out beyond its...
Elena Dubinets
Thursday, 29 September 2022
Just as I was moving from the US to the UK to begin working as the Artistic Director of the London Philharmonic Orchestra...
Thomas H Green
Thursday, 29 September 2022
Make no mistake about it, Slipknot are massive. 23 years after their recording debut, they’ve had 8.5 billion streams,...
Markie Robson-Scott
Wednesday, 28 September 2022
The Book of Goose, Yiyun Li’s fifth novel, is the gripping story of two teenage French girls and their intense, uneven...
Helen Hawkins
Wednesday, 28 September 2022
From underneath the messy ash-white thatch of hair, a strange mooing suddenly issues: Sir Kenneth Branagh is wrestling with...
Veronica Lee
Wednesday, 28 September 2022
A dead pigeon. A dead squirrel. A dead fox. Lots of maggots – very much alive. I might be describing your worst nightmare (...
Nick Hasted
Wednesday, 28 September 2022
Twenty-four hours in the life of a Korean woman, Sangok (Lee Hyeyoung), are caught in scenes which feel like real time in...
Joe Muggs
Wednesday, 28 September 2022
It’s a minor tragedy that Yeah Yeah Yeahs arrived just in time to be bundled in with a spurious “new rock revolution,”...
David Nice
Tuesday, 27 September 2022
“What about the communication with the audience?” asked violinist and impresario Bjarte Eike in his First Person piece for...
Sarah Kent
Tuesday, 27 September 2022
Remember Gangnam Style, the music video that went viral in 2012? PSY’s cheeky lyrics and daft moves attracted 1.6 billion...
Harriet Mercer
Tuesday, 27 September 2022
In 2019 Australia endured the hottest, driest year since records began and their bushfire season escalated with...
Graham Rickson
Tuesday, 27 September 2022
Károly Makk’s Love (Szerelem) is full of silences and absences, this 1971 film’s premise as simple as its title is banal.The...
Matt Wolf
Monday, 26 September 2022
Can a play peak too soon? That's the quandary that attends the Old Vic airing of Eureka Day, Jonathan Spector's on-...
Rachel Halliburton
Monday, 26 September 2022
It probably tells you all you need to know about Igor Levit that when a mobile phone pinged just before his encore, he...

★★★★ HALLYU! THE KOREAN WAVE, V&A Frenetic but fun

★★★ THIS ENGLAND, SKY ATLANTIC How Boris's No 10 got Covid wrong

★★★ THE WONDERFUL WORLD OF DISSOCIA, THEATRE ROYAL STRATFORD EAST The landscape of mental health explored in surreal comedy

★★★ MARINA ABRAMOVIC: GATES AND PORTALS, MODERN ART OXFORD AND PITT RIVERS MUSEUM The grandmother of performance art induces deep breathing and a slow heartbeat

★★★★★ YEAH YEAH YEAHS - COOL IT DOWN A return even more triumphant than we dared hope


★★★★ THE BIG MOON, ORAN MOOR, GLASGOW Partying prevails despite band's bad luck

★★★ EUREKA DAY, OLD VIC Dissent in the ranks in uber-timely American comedy

★★★ KIM NOBLE, SOHO THEATRE Final part of trilogy about loneliness

disc of the day

Album: Björk - fossora

The Icelandic singer carries a motherlode on her new album


This England, Sky Atlantic review - how Boris's No 10 got Covid wrong

Kenneth Branagh gets Boris (mostly) right, but what does this docudrama hope to achieve?

Am I Being Unreasonable?, BBC One review - comedy thriller delivers the gags

Daisy May Cooper's new show is promising, looking set to get darker

'The first thing I do when I wake up is write.' Hilary Mantel, 1952-2022

An interview with the novelist the morning after she won the Man Booker Prize for the first time


Blonde review - Marilyn Monroe thrown to the wolves

Cruel biopic revels in the star's victimhood

In Front of Your Face review - a day in the life

An ex-actress's return to Seoul is beatific and drunkenly raw, in Hong Sangsoo's latest

Blu-ray: Love (Szerelem)

Love in a totalitarian regime: Károly Makk’s masterpiece returns

new music

Album: Björk - fossora

The Icelandic singer carries a motherlode on her new album

Album: Slipknot - The End, So Far

To describe it as business-as-usual would be to undersell the masked metallers's energy and sheer gutsy punch

Album: Yeah Yeah Yeahs - Cool It Down

A return even more triumphant than we dared hope from NYC's finest power trio


Purcell's Playhouse, Bevan, Barokksolistene, Eike, Purcell Room review - kaleidoscopic delights

Vivacious British soprano shares the communicative spirit of her Norwegian colleagues

Igor Levit, Wigmore Hall review - titanic talent shows his lighter side

Dazzling range in mastery of tone and technique


Aida, Royal Opera review - dour but disciplined

Uniformly good cast, idiomatic conducting, production rigidly consistent in khaki

The Makropulos Affair, Welsh National Opera review - complexity realised brilliantly on the stage

Janáček’s collisions spark an evening of powerful conflict


The Crucible, National Theatre review - visually stunning revival of Miller's classic drama
Lyndsey Turner paints this seminal drama with disturbing colours
John Gabriel Borkman, Bridge Theatre review - amusing tale of awful people
Simon Russell Beale is the unapologetically corrupt banker, in Ibsen's chilly tragicomedy
Jews. In Their Own Words, Royal Court review - calling out ancient prejudice
After its antisemitic blunder a year ago, this venue makes amends


theartsdesk at the Ravenna Festival 2022 - body and soul in perfect balance

Completion of the city’s big Dante project with 'Paradiso' is only one of three wonders

The Rite of Spring, Pina Bausch/École des Sables, Sadler's Wells review - explosive and disturbing

At last, the pan-African production of Bausch's landmark choreography arrives on the London stage


Kim Noble, Soho Theatre review - final part of trilogy about loneliness

You'll need a strong stomach for the comedy-performance art overlap of 'Lullaby for Scavengers'

Dave Edinburgh Comedy Awards 2022

Australian and American stand-ups leave the Fringe victorious


Savala Nolan: Don't Let It Get You Down review - finding voice in the liminal

Essays on the spaces between black and white, rich and poor, thin and fat

Yiyun Li: The Book of Goose - fame, reality and two teenage French girls

Yiyun Li's compelling fifth novel marks a new departure

Bronwyn Adcock: Currowan review - a fire foretold, a warning delivered

Stories of surviving Australia’s worst bushfire

visual arts

Hallyu! The Korean Wave, V&A review - frenetic but fun

Learn how to succeed, South Korean style, right across the cultural board

Marina Abramović: Gates and Portals, Modern Art Oxford and Pitt Rivers Museum review - transcendence lite

The grandmother of performance art induces deep breathing and a slow heartbeat

Winslow Homer: Force of Nature, National Gallery review - dump the symbolism and enjoy the drama

Hot topics like slavery and colonialism given the ambiguous treatment

latest comments


Clearly underrated... The production is...

Oasis were influenced by RIDE. Listen to Leave...

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