Reviews
Sebastian Scotney
A story of forbidden love, Great Freedom takes place almost entirely in a prison. The film's background is encapsulated in the word “175er/ hundertfünfundsiebziger”, still to be found in German dictionaries and collective memories as a pejorative word for a gay man.It's a reference to Clause 175 of the German Criminal Code, which criminalised homosexuality. The law was originally introduced in 1871, broadened by the Nazis in 1935, substantially re-drawn in 1969, but only finally and fully repealed in 1994. There is also topicality here: claims for reparations – which are generally Read more ...
Daniel Baksi
One feels, or perhaps hopes, that if she could have avoided it, first-time feature director Ruth Paxton might not have started A Banquet as she ultimately did: with Holly Hughes (Sienna Guillory) arduously scrubbing the frame of her husband’s hospital-style bed, as he coughs, gasps, and weeps for an end to whatever ghastly affliction he has been dealt. Not to be deterred from her usual course of existence, Holly pops across the kitchen to make herself a smoothie. Out comes the chopping board, in flies the fruit, and the blender goes whirr. Guillory’s face, angular and incisive Read more ...
Boyd Tonkin
Had he never written a note of his own, George Walker would still have left a record of trailblazing achievements. Born in Washington DC in 1922, he studied piano at Oberlin College and the Curtis Institute (the conservatoire that notoriously rejected Nina Simone). He was taught by Rudolf Serkin and, in 1945, debuted as a soloist first at the New York Town Hall and then, playing Rachmaninov’s third concerto, with the Philadelphia Orchestra under Eugene Ormandy.Needless to say, neither Town Hall nor Philadelphians had ever seen an African American soloist before. By 1946, however, Walker had Read more ...
Robert Beale
It’s catching on … for the second consecutive night I heard an orchestra begin by playing, to a standing audience, the Ukrainian national anthem. The previous night it was Opera North’s musicians: this time the Norwegian conductor Tabita Berglund addressed the audience at the Bridgewater Hall to explain that it would be dedicated to the victims of war in Ukraine, and the Hallé gave it a resounding reading, followed by loud applause.The outstanding performance of the evening came from a Swede, cellist Jakob Koranyi, in Dvořák’s Cello Concerto, wisely positioned as the opening event. With Read more ...
Saskia Baron
There’s a long tradition of foodie romances proving art-house cinema hits – think of Babette’s Feast, Tampopo, and Chocolat. Sadly, it’s unlikely that Master Cheng, a gentle and very slow Finnish-Chinese coproduction about a chef from Shanghai charming the Nordic locals with his cleaver skills, is going to light up the UK box office. Written and directed by Mika Kaurismäki (Aki’s older, less outrageous brother), this is a languorous fish out of water (and into sweet and sour sauce) story. Cheng (Chu Pak Hong above right) and his young son Niu Niu (Lucas Hsuan) turn up in a Finnish Read more ...
Gary Naylor
The Merchant of Venice is a comedy, you say? Shakespeare, as ever, refuses to be confined to convenient boxes, his best plays’ extraordinary pliability and longevity a testament to the piercing eye he cast towards the slings and arrows that assail humankind. More than most of his works, The Merchant of Venice requires a director to take a stance, especially these days, so as to send the audience in a chosen direction. This is not unique - no text can. nor should, be sacred - but those decisions bubble closer to the surface in The Merchant than perhaps any other play in the canon. Read more ...
aleks.sierz
Love is the most difficult four-letter word. And platonic love is perhaps the hardest kind of emotion to write well about. But it’s the central subject of Amanda Wilkin’s Shedding a Skin, and she describes it beautifully. This 2020 Verity Bargate award winning one-woman show, which has also been shortlisted for the Susan Smith Blackburn prize, had a sell-out run in the summer of 2021, and now the Soho Theatre brings back this heartwarming story, whose effect is heightened because the playwright herself takes centre stage. Wilkin plays Myah, a mixed-race thirtysomething who loses her Read more ...
Gavin Dixon
Mahler on modern instruments is ubiquitous these days, so historically informed performance is bound to be revealing. Here, the Orchestra of the Age of Enlightenment brought transparency and focus to Mahler’s often complex textures in his Fourth Symphony. The concert was programmed as a showcase for young South African soprano Masabane Cecilia Rangwanasha, whose voice is ideal for this repertoire. But just as interesting was conductor Ádám Fischer, an engaged and energetic Mahlerian, and always gently resistant to convention.The concert opened with the Adagietto from Mahler’s Fifth. The gut Read more ...
Tom Teodorczuk
"Get into the scene late and get out early." So wrote David Mamet in his 1992 book On Directing Film, and Southwark Playhouse, among London's most charmingly eclectic theatres, has delved very early into Mamet's canon, reviving his 1977 play The Woods – a two-hander not seen in London since 1996. While the play revolves around a dynamic that is hardly obscure – man and woman's ultimate incompatibility – a spirited production can't disguise why we will see plenty more of American Buffalo and Glengarry Glen Ross before this Read more ...
David Nice
Serendipity, rather than the fate which clings to the protagonist of Judith Weir’s Miss Fortune, led me to catch the last night of a double-cast spectacular at the Guildhall School of Music and Drama. What a tonic to find a top-notch young cast and orchestra working their disciplined socks off for conductor Dominic Wheeler and director Martin Lloyd-Evans after the dog’s dinner of English Touring Opera’s Rimsky-Korsakov on Saturday.Menotti’s 1946 bagatelle about a girl who’d rather be on the telephone than communicating with her matrimony-minded boyfriend is the light to the mostly dark of Read more ...
Robert Beale
There was something extraordinarily powerful and moving about Saturday’s Beethoven commemoration concert by the BBC Philharmonic and its chief conductor, Omer Meir Wellber.Originally planned for 2020 but of course postponed, its second part consisted of a UK premiere: a work co-commissioned by the BBC to be the opening of something quite novel. Wellber told the audience it would be like “a symphonic poem by Beethoven”. He meant that Ella Milch-Sheriff’s The Eternal Stranger would be followed without any break by both the Funeral March from Beethoven’s “Eroica” symphony and then (again with no Read more ...
Adam Sweeting
Tragically, Shane Warne’s sudden death at age 52 means that Amazon’s new documentary about him has suddenly become an obituary as much as a celebration.Directed by John Carey, David Alrich and Jackie Munro, Shane does a solid job of tracing Warne’s ascent to cricketing glory, with contributions from an array of friends, teammates and family members. Best of all, there’s plenty of input from the man himself, since the ebullient Warne was never at a loss for words either on or off the pitch.As much as anything, his story was a powerful demonstration of mind over matter. Initially, he would have Read more ...