Reviews
fisun.guner
“I realise how lucky I am coming from Margate. It’s a most romantic, sexy, fucking weird place to come from. I didn’t come from the suburbs.” Tracey Emin’s relationship to her hometown mirrors a familiar trajectory. Like all difficult relationships, it has chipped away at her psyche for years. Not surprisingly, we’ve sensed it played out in her work: first defiance and rejection, then a kind of ambivalent reconciliation, and finally a deep affection.What is arguably her best work, the 1995 video, Why I Never Became a Dancer, which must surely be read as a modern-day, cult-of-celebrity fairy Read more ...
Adam Sweeting
Lord Bragg permitted himself a knowing chuckle as he introduced Sky Arts's resurrection of The South Bank Show from the South Bank. He was standing in front of the National Theatre, whose director Nicholas Hytner was this week's subject, though within seconds he had been teleported to the streets of Manhattan, to preview the opening of Hytner's production of One Man, Two Guvnors on Broadway. The message, from both Bragg and Hytner, was that the arts are vital, they can be massively popular, and they cross frontiers both imaginative and physical.Director Suzannah Wander had delivered a hugely Read more ...
james.woodall
Peter Brook is probably at his happiest in Africa. Through his Paris theatre, the Bouffes du Nord, he has long had access to gifted Francophone black African actors. They’ve always been a significant contingent of his troupe there, which has also included Maghrebis, Americans, Japanese, Germans, French and even, sometimes, Britons. Brook’s first focus of attention was West Africa, then South: in 1973 he was blown away at the Royal Court by township actors John Kani and Winston Ntshona, and set out on a project to inhabit and stage the black African soul which has lasted four decades.In this Read more ...
Steven Gambardella
In the cool, dim, municipal modernist interior of Hornsey Town Hall you’re confronted with a neon sign: And Europe Will be Stunned. It's the title of the trilogy of films at the heart of this Artangel-commissioned show by Israel-born Yael Bartana. The films are split in location around the building in an exhibition which includes neon slogans and posters which can be taken away, bearing manifestos in different languages.The first film, Mary Koszmary (Nightmares) (2007), sees a young politician walk into the derelict and virtually desolate Decennial Stadium to deliver a contentious speech Read more ...
mark.hudson
The Winter’s Tale may not be one of the best loved of Shakespeare’s plays – not quite a comedy, not quite a full-blown drama – but the Globe was packed on the hottest night of the year for this vibrant Yoruba version direct from Lagos. South-East London has the largest Yoruba population outside Nigeria. The audience was maybe 40 per cent Yoruba-speaking (my daughter thought 70 per cent), and their gusts of laughter and murmurs of affirmation set the tone for the rest of the crowd’s responses.Swinging drum rhythms and the sung narration of a majestic turbaned woman in the role of Time Read more ...
theartsdesk
Sandy Denny: Sandy (Deluxe Edition), Like An Old Fashioned Waltz (Deluxe Edition), Rendezvous (Deluxe Edition)Graham FullerSandy Denny completists unable to drop a thousand to acquire the now scarce 2010 19-disc box set can fill their collections another way. They can add to their Denny-era Strawbs, Fairport Convention, and Fotheringay CDs last year’s remastered The North Star Grassman and the Ravens, the melancholy 1971 masterpiece with which she launched her solo career, and these three newly spruced and expanded albums: Sandy (1972), another classic full of loneliness and yearning; the Read more ...
igor.toronyilalic
Mass murder. Incest. Rape. Madness. This is quite a lot to be getting on with for a three-hour opera. Too much perhaps. Indeed, German composer Detlev Glanert seems so busy trying to pack in all the Grand Guignol elements that one expects from a portrait of Caligula that he never quite gets around to saying anything interesting about any of it. All we learn about tyranny - the work's main theme - is that it is cruel, it knows no limits and that it consumes and begets itself. I'm sure Albert Camus's original 1944 play talks much more about existential cause. About the only moment that Read more ...
Adam Sweeting
We now know that David Cameron's favourite album is Pink Floyd's Dark Side of the Moon, although there is a theory that he only picked it to avoid having to give the true answer, which is The Queen is Dead by The Smiths. Clearly this would have been a tactless selection in Diamond Jubilee year.But perhaps the smarter choice would have been 1975's Wish You Were Here, the follow-up to the monstrously successful but patchy Dark Side..., and the favourite Floyd album of band members David Gilmour and the late Rick Wright. Once again, Wish... was the product of a band caught in the steely grip of Read more ...
stephen.walsh
Ask any young composer in this country who is the most important figure in modern British music, and the answer is likely to come back quick and sharp: Oliver Knussen. Himself a composer of dazzling brilliance when he gets round to it, and a conductor who gets far too much work for the peace of mind of those who want him to write more music, Knussen has also for years been a kind of guru figure to generations of young and not-so-young composers, sacrificing his own creative time and energy in their interests, advising, promoting, performing.At 60, after a spell of poor health and visibly in Read more ...
graham.rickson
Massenet: Werther Rolando Villazón, Sophie Koch, Orchestra of the Royal Opera House/Antonio Pappano (DG)Massenet’s Goethe adaptation needs a lot of love to make it convince as a drama. Fortunately this live Covent Garden performance, taped last May, has Antonio Pappano at the helm. There’s no one better at glossing over the piece’s longueurs. You need someone who can make you forget Werther’s clunkiness, its occasional risible moments. I can never maintain a straight face in Act 3 when Charlotte learns of Werther’s fateful message: “ I am leaving on a lengthy journey. Will you lend me Read more ...
graham.rickson
Serious programmes about classical music are now virtually invisible on the major channels. There’s always BBC Two’s Maestro at the Opera, I hear you shout. Or something with that nice Gareth Malone. A good selection of Proms will be shown live on BBC Four, but with luck will scrupulously avoid the witless interviews with celebs in lieu of proper interval talks. Enough ranting. As explained in John Bridcut’s impressively understated film, Delius was a curious figure; adored by many as an echt English composer, but one who spent most of his life abroad. He was buried in Surrey, at midnight, in Read more ...
aleks.sierz
Plays about media folk and creatives, such as Joe Penhall’s Dumb Show and Stella Feehily’s O Go My Man, are not uncommon in British theatre. They usually have recognisable middle-class settings, recognisable middle-class characters, and a couple of handfuls of punchy one-liners. The writing and acting usually veers from soap-opera parody to perceptive analysis of the way we are defined by our media-fuelled obsessions. So where on this scale of quality is writer, director and actor Matthew Dunster’s latest play?The set up has a certain symmetry. Michael and Gordon have been good mates since Read more ...