Reviews
Hanna Weibye
Ah, Giselle. Despite being cobbled together from a huge stack of 19th-century literary and dramatic tropes – fans of La Sylphide, Robert le Diable, Lucia di Lammermoor, Walter Scott and German Romanticism will feel right at home – and having a score from Adolphe Adam that is definitely not in the first league of ballet music, Giselle is endlessly compelling: the ballet sticks in your mind. The miraculously-intact 19th-century choreography of the second act is part of the attraction, but so is the character of Giselle, the peasant girl who, seduced and betrayed by a nobleman in disguise, kills Read more ...
Kieron Tyler
Small Faces: Here Comes the Nice - The Immediate YearsWhen theartsdesk last covered Small Faces’ reissues in May 2012, the review concluded “the Deluxe Editions are probably (who knows what might lurk in obscure archives?) the last word on these albums.” As anticipated and as revealed by this box set, more did indeed lurk in obscure archives. Moreover, the appearance of Here Comes the Nice calls into question just what half of those Deluxe Editions of the band’s four albums used as their sonic source materials. This new release boasts that it is “all sourced and remastered from recently Read more ...
aleks.sierz
Unlike television, with its series of Spooks and Homeland, theatre has more or less ignored the secret services. For reasons of snobbery (thrillers are somehow beneath the interest of young playwrights) or because of playwriting clichés (write what you know is difficult in the secret world, where no one really knows what’s going on), this is a relatively unexplored area. But in the era of Wiki-leaks and Edward Snowden, surely few subjects could be more timely?The story of Ciphers begins with a dead body. Justine, employed by the secret services, is found lifeless, having apparently committed Read more ...
Veronica Lee
John Kearns introduces himself as himself as he comes on stage then, very carefully - tenderly almost - he lays out a blonde wig, a pair of women's high-heeled shoes and a skimpy dress on the floor. They stay there until the final segment of his show, untouched and without mention. He puts on a ridiculous oversize tonsure wig and a pair of joke-shop false teeth. Oh and he is wearing a horse costume, and “rides” Trigger as he performs the first bit of the show - which he tells us is about "disguise, expectations and failures".Kearns won the Edinburgh Comedy Awards best newcomer gong for this, Read more ...
fisun.guner
What once appeared daring and transgressive will often barely raise an eyebrow given time. This much is obvious – or at least up to a point, since much avant-garde art continues to challenge and/or bemuse well into the 21st century. But the reverse can also be true. What was once produced as a work typical of its time can now make us feel very uncomfortable. Hannah Höch was a member of Berlin Dada in the years immediately following the First World War. These were the Weimar years in which artists who were later denounced as degenerate by the Nazi regime produced scabrous attacks on Read more ...
Kimon Daltas
The first half of this concert was quite the family affair: Martinů’s Concerto for Two Pianos featuring the eternally youthful Katia and Marielle Labèque, with the latter’s husband Semyon Bychkov conducting.Any natural rapport took a while to manifest itself, though much of that should be laid at the composer’s door – the first movement of this curious piece favours constant and rather directionless motion over more traditionally concerto-like interplay. The result is a thick texture, with lots going on in the middle but the whole somehow failing to sound lush. The second Read more ...
Simon Munk
Set in an icy, fantasy Norse-influenced world, with an art style based on the 1950s work of Disney artist Eyvind Earle, The Banner Saga is immediately, aesthetically, vastly different from most videogame fare. But it's not just in visuals that it strikes out.The Banner Saga's key innovation is in making the player feel far less heroic. This isn't about saving the universe, it's about surviving the next battle.In the icy lands where the game is set the sun has stopped moving, the gods are long dead and to cap it off humanity and their semi-allies, a race of horned giants called the varl, are Read more ...
Kieron Tyler
The Night of the Hunter is not recorded as having charmed critics when released in 1955, but its reappearance in cinemas means it can be seen for what it was: a dark, frightening and intense film which questions the nature of faith and what happens when evil comes to town.Central to the impact is Robert Mitchum’s creepy portrayal of bogus preacher, con man and serial killer Harry Powell. Without Charles Laughton’s sure-footed and distinctive direction framing this unforgettable performance, the film would not be as impactful as it is. Although almost 60 years old, The Night of the Hunter Read more ...
David Benedict
“God,” wrote Stephen Sondheim, “is in the details.” Of course, he didn’t actually coin the phrase but throughout his published collections of lyrics he cites it as one of his three guiding principles. But to witness detail you need to be up close. Last seen on Broadway in the 1,058-seat Barrymore Theatre, Putting It Together felt overblown and strained. In the 312-seat St James Theatre, its strengths – the delights of a deftly interwoven selection of 32 Sondheim songs – leap into focus thanks to a quintet of deliciously detailed performances.Unlike Side By Side by Sondheim, the much copied Read more ...
alexandra.coghlan
A candlelit theatre is one thing. A theatre when those candles are so close you could lean in and blow them out, where a good line sets them flickering in gusts of audience laughter is quite another. We’ve been spoilt by the Globe for almost 20 years now, and the novelty of its open-air theatre still feels fresh. With the new, Jacobean-inspired Sam Wanamaker Playhouse (capacity just 340), they have done it again.While the rest of Wanamaker’s opening season gets more experimental and exploratory, the new theatre was launched last night with a classic Jacobean revenge tragedy (and the closest Read more ...
David Nice
Baleful prophecies were rife before the concert. Was Vladimir Jurowski right to let Mahler’s only total tragedy among his symphonies, the Sixth, share the programme with anything else, least of all a new viola concerto in which the solo instrument’s naturally pale cast of thought seemed likely to be indulged by James MacMillan – another composer not afraid of rhetorical angst?As it turned out, the concerto had as much of the healthily extrovert about it as MacMillan’s immediate predecessors in the form for oboe and violin, while Jurowski’s Mahler wasn’t, it seemed, out to blitz us after all. Read more ...
Mark Valencia
Of Schubert’s two great cycles, the youthful ardour of Die schöne Müllerin sits best with a tenor while the bleak wretchedness of Winterreise lends itself to the baritone voice. These, of course, are personal prejudices, for both works can be sung in either range (and indeed beyond, as the presence in the Wigmore Hall audience of a leading female exponent of Winterreise, Alice Coote, reminded us), but it’s what experience has taught me. On this occasion Coote, like the rest of us, was there for a baritone, for it was Gerald Finley’s moment to mount an assault on this forbidding summit among Read more ...