Reviews
Thomas H. Green
This is, in many ways, an underwhelming evening, but the fault does not primarily lie with The Psychedelic Furs. Things start well with support act Lene Lovich who gives a lively performance, in a black’n’red ensemble with striped sleeves and a gigantic, beribboned, plaited wig/hair/hat confabulation which has something of Big Chief Sitting Bull about it. Despite not playing her only Top 10 hit, 1979’s “Lucky Number”, she whoops and theatricalises while her band delivers a suitably punchy new wave racket.The Psychedelic Furs aren’t going to get away with not playing the hits, especially as Read more ...
David Nice
Outlines of a real face had begun to emerge in Daniel Harding’s conducting personality. His youthful rise to the top initially yielded neutral concerts with the LSO and a glassy, overpraised recording of Mahler’s Tenth in the Deryck Cooke completion with the Vienna Philharmonic. But then I heard a supple, intensely lyrical Brahms Third in the Concertgebouw and what came across on CD as a fine live interpretation of Mahler Six from Munich. With last night's Prom we were back to the enigma, best summed up in Otto Klemperer’s channeling of Brecht and Weill’s Jimmy Mahoney and his refrain “aber Read more ...
Mark Sanderson
Forget Christopher Eccleston and the Lake District. Two years on, Ed Whitmore’s ready-mix thriller Safe House returns with Stephen Moyer in Merseyside. He plays Tom Brook – not the venerable film critic (Talking Movies is still showing on BBC World), but an ex-cop convinced his successors are making a dreadful mistake.Eight years ago someone nicknamed The Crow abducted three women who were never found. Nevertheless, a man called Luke Griffin (Stephen Lord) was jailed for life for their murders. Now, in what appears to be a copycat crime, Julie (Lynsey McLaren), the lovely partner of Liverpool Read more ...
Boyd Tonkin
Amazingly, last night Sir András Schiff scored a Proms first with his performance of Book One of Bach’s The Well-Tempered Clavier. Never before has even half of the sublime and seminal “48” taken the Royal Albert Hall stage in unmutilated form. The WTC could have found no better advocate. Schiff’s awesome ability as a pianist to deliver clarity without austerity, fidelity without pedantry, made us see how this first set of 24 preludes and fugues (completed in 1722; the second book dates from two decades later) encodes so much of the fundamental DNA of Western music.Not only across the Read more ...
Tom Birchenough
It doesn’t take long, I think, to work out the associations of the title of Insyriated: we are surely being presented with a variation of “incarceration”, one tinged by the very specific context of the conflict that has ravaged Syria for six years now. But there’s a certain ambiguity at the centre of Belgian director Philippe Van Leeuw’s film about a Damascus family confined in their apartment as civil war goes on around them – they have not been literally locked up by anyone, rather their temporary self-confinement, presided over and enforced by the powerful matriarch Oum Yazan (Hiam Abbass Read more ...
David Nice
Of Sondheim’s half-dozen masterpieces, Follies is the one which sets the bar impossibly high, both for its four principals and in its typically unorthodox dramatic structure. The one-hit showstoppers from within a glittering ensemble come thick and fast in the first half – stop the show they certainly did last night – and it’s hard not to miss all that when the camera zooms in exclusively on the quarrelling quartet. Dominic Cooke’s less-is-more National Theatre production, full of subtle touches, finds a better solution than any to the nominally climactic “Loveland” sequence and wisely Read more ...
Nick Hasted
Stephen King’s IT attempted ultimate terror, cutting far deeper than a killer clown. It idealised childhood friendships and their adult honouring even as one of those kids was forced to eat shit by sadistic bullies, and their idyllic small-town of Derry had a stream of child-killing evil running through its sewers. Andy Muschietti’s elegantly crafted adaptation – the first part of two – does King’s achievement superficial justice, while rarely causing nightmares of its own.Its opening scene is one exception, as 12-year-old Bill (Jaden Lieberher, pictured below third right) sends his adoring 7 Read more ...
David Nice
It can’t be too long before “women” no longer needs to prefix “conductors” to define what’s still a rare breed. Yet seven at the Proms is certainly an improvement, with many more coming up through the ranks. And American Karina Canellakis turned out to be very much the season’s final trump card. She seemed precise and watchful in a new work and in getting the BBC Symphony Orchestra to keep perfect tabs on live-wire Jeremy Dank in Bartók’s dizzying Second Piano Concerto (he watched, too, in return). But it was Dvořák’s Eighth Symphony which defined the Canellakis style – keenly-spring and Read more ...
Barney Harsent
They say that living well is the best revenge. To be fair, they also say it’s a dish best served cold and I’m pretty sure they’re thinking of gazpacho, so I’m not entirely clear how much real meaning is to be found in these dictums. I’m also not sure how much real meaning is to be found in BBC One’s infidelity drama Doctor Foster, which returned to our screens for a second series and saw Suranne Jones as the titular doc left reeling by the return of her cheating hubby, Simon (Bertie Carvel) and his former fling, now wife, Kate (Jodie Comer). We’ll need to, if possible, ignore the fact Read more ...
graham.rickson
Morag Tinto’s documentary is a profile of composer Alma Deutscher, who hit the headlines at the end of last year when her opera based on the Cinderella story premiered in Vienna. What’s unusual about that, you might ask? Apart from being female, Alma was 11 years old when she finished writing it. Eleven. Think about it. I can’t recall much about my own talents at that age, apart from being able to tie my own shoelaces and build passable models out of Lego.Alma is the real deal; frighteningly talented but disarmingly likeable. We see her at the family home in Surrey, the footage intercut with Read more ...
Peter Quantrill
Even tuning up, the multinational musicians of the Freiburg Baroque Orchestra make a lovely sound, well-anchored by the tug of four period-instrument cellos and three basses, yet buoyant and stippled with upper-wind colours, flutes circling and dipping like a cliff-edge bird colony. Ideal, then, for the Hebrides Overture which opened this Mendelssohn matinee (★★★★).With the gentlest of rhythmic swells in the violins, just enough turbulence registered beneath the surface to give an early hint of what would become a subtly revisionist account, formed in the quietly authoritative hands of Pablo Read more ...
Boyd Tonkin
How do you get to heaven, especially if you need to reach the pearly gates by way of the earthbound acoustics of the Royal Albert Hall? With Chief Conductor Daniele Gatti as their spirit guide, the sumptuously arrayed pilgrim band of the Royal Concertbegouw Orchestra from Amsterdam sought different routes in the centrepieces of their pair of Proms. In Bruckner’s majestic, yet often intimidating, Ninth Symphony, unfinished on the composer’s death in 1896 and presented here without any of the fabricated finales that later hands have slapped on it, the way turned out to be blocked despite the Read more ...