sat 28/05/2022

GALLERY photographic & art displays

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Elizabeth: A Portrait in Parts review - she is a human being

Roger Michell’s films described a range of Englishness, from Notting Hill’s foppish comedy to acerbically humane Hanif Kureishi scripts...

Girl on an Altar, Kiln Theatre review - machismo, murder and...

Playwrights return to classical myths for two main reasons – to shine a light on how we live today and because they're bloody good yarns.

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First Person: Christina McMaster - seeking musical cures for...

In 2020, during a gentle easing of lockdown restrictions, I was asked to play for the Culture Clinic sessions at Kings Place, a creative...

Album: Yama Warashi - Crispy Moon

Crispy Moon is a musical kaleidoscope encompassing free-jazz skronk,...

Between Two Worlds review - Juliette Binoche, maid in Franc...

For die-hard Juliette Binoche fans – don’t cross us, we get angry – Between Two Worlds is heaven. The...

Samson et Dalila, Royal Opera review - from austerity to exc...

Words and situations are one-dimensional, but the music is chameleonic, if not profound, and crafted with a master’s hand. What to do about ...

Henry VIII, Shakespeare's Globe review - unashamedly vu...

Boris Johnson was of course not the first British leader to engineer a split with Europe for...

Luzzu review - a Maltese fisherman struggles with modernity

In Maltese-American Alex Camilleri’s debut feature, it’s a case of follow the swordfish. This terrifically atmospheric, almost documentary-like...

Kim Hye-jin: Concerning My Daughter review - room for compli...

In this best-selling Korean novella, recently translated into English by Jamie Chang, Kim...