Reviews
Markie Robson-Scott
Lead singer and frontman Ed Robertson launches into a BNL-in-London rap, extolling the Roundhouse, “where they used to turn trains”, as well as the glories of Camden Market’s liquid-nitrogen ice-cream bar. The crowd, with its distinctly Cold Feet demographic, goes wild for the Ladies – if you’re not familiar with them, there are no women in this Canadian band – and their new album, Silverball, named in honour of Robertson’s pinball obsession, has been hailed as a buoyant return to form.The BNLs, who've been going for 27 years, are known for their melodic tunes and quirky, caustic lyrics, Read more ...
graham.rickson
Elgar: Symphony No. 1, In the South Orchestra dell’Accademia Nazionale di Santa Cecilia/Antonio Pappano(ICA Classics)Antonio Pappano’s multi-national background might suggest that he’s the latest in a long line of foreign musicians to succeed with Elgar, though he’s actually British. He does a wonderful job with Elgar 1 in this live recording, though much of the credit rests with Rome’s Santa Cecilia orchestra – the strings’ heft and the weighty brass sonorities make most other performances sound distinctly anaemic. Not that Pappano goes crudely over the top; his unapologetically Read more ...
Peter Quantrill
You know what they say about men with big hands. Christian Thielemann has them, that’s for sure. Massive, meat-cleaving clappers, carving through the air. They give a pretty heavy upbeat too, and a generalissimo’s point and jab for a cue. If you’re a back-desk violinist in the Dresden Staatskapelle, you know when you’ve been Thielemanned.Those hands were also joined in a sweaty fanboy’s applause for Nikolaj Znaider at the end of Beethoven’s Violin Concerto. The violinist returned the love by dedicating his Bach encore to the conductor and orchestra. Such a concerto does not play itself, he Read more ...
alexandra.coghlan
Part Biblical melodrama, part Carry On Up The Colosseum, with a bit of Horrible Histories thrown in for good measure, it’s hard to see how John Wolfson’s wildly uneven The Inn at Lydda graduated from a rehearsed reading last season to a full-blown production. Director Andy Jordan does what he can with this historical mishmash, but there’s no disguising the fundamental flaws in the play’s construction.Wolfson, curator of rare books at the Globe, has taken the New Testament Apocrypha as a starting point for a Classical counter-factual fantasy. The dying emperor Tiberius Caesar (he of “Render Read more ...
Markie Robson-Scott
Documentary film-maker Richard Macer, who has only just bought his first copy of Vogue, is embedded in the magazine in its centenary year. “The office here is a very polite and guarded world,” he murmurs nervously. “Over the next few months I’m hoping to get under the skin of the place, find out what the rules are.”Over nine months of filming a few certainties emerge: Vogue is rather like school (you hand in your work and wait for your marks: a tick is good, a nice is great); fashion shows are chaotic; and memorable covers don’t sell. Editor-in-chief Alexandra Shulman, who has been at the Read more ...
David Nice
She gave us the most moving King Lear years before the news broke that Glenda Jackson would be playing the role. Only Mark Rylance has recently matched the malicious wit of her Globe Richard III. Now Kathryn Hunter spellbinds in a very Shakespearean downfall drama about the court of Ethiopian Emperor Haile Selassie – but this time the Elect of God doesn’t actually appear in person, not literally at any rate, and the triumph is shared by everybody involved, lighting and soundscape designers included.Hunter plays 12 parts, the voices of the ruler’s courtiers as reported in Ryszard Kapuściński’s Read more ...
Jasper Rees
Ben-Hur, the remake of the remake, is an epic misfire starring no one you’ve ever heard of apart from, inevitably, Morgan Freeman. What in heaven, you may ponder if accidentally trapped at a screening, were the producers thinking? Their rationale is writ large in the film's no-messing-about opening sequence. Like its own trailer naming the elephant in the room, this Ben-Hur heads straight to the chariot race. It's some mission statement. Forget William Wyler's 1959 epic that won more Oscars than any film in history, it says. And forget Fred Niblo's ground-breaking 1925 silent classic. The CGI Read more ...
Adam Sweeting
Having recently seen Chris Pine reprising his role as the headstrong but heroic Captain James T Kirk in the latest Star Trek, it's a revelation to find him in this gritty tale of crime, punishment, righted wrongs and moral ambiguity. To his credit, he doesn't wilt in the glare of his co-stars Jeff Bridges and Ben Foster, both of whom are giving it both barrels here.One way of looking at Hell or High Water is to consider it as a double buddy movie. It's the story of West Texas brothers Toby and Tanner Howard (Pine and Foster), who rob a string of local banks in order to pay off a reverse Read more ...
aleks.sierz
Ever since Lucy Prebble’s hit masterpiece, Enron, opened our eyes to the possibilities of staging plays about global finance in a thrillingly theatrical way, the hunt has been on for another story that can be as informative and as well staged. Step forward Beth Steel, whose Wonderland, her previous play at this address, looked at Yorkshire miners in the 1980s Miners Strike. Now she travels across the pond in the late 1970s, to look at the similarly arcane activities of New York bankers. This time her characters are not the good sons of toil, but at the bad boys of spoil.Sadly, much of the Read more ...
David Nice
Soft power in the shape of cultural ambassadors can go a long way. With a little help from its big guns in banking and industry, Germany has given this year's Proms no less than four of its major orchestras – from Leipzig, two from Berlin, and now from Dresden: all the more reason to wave those EU flags on a typically international Last Night in three days' time.There's even been co-ordination this week in the shape of Mozart piano concertos and Bruckner symphonies three nights running, first from Barenboim and now from Christian Thielemann. A failsafe interpreter of the Austro-German Read more ...
Clem Hitchcock
Neon was once the triumphant glowing symbol of commerce and capitalism. In the 1930s the distinctive tube lighting gleamed above broadway theatres and on prominent billboards in the world’s great metropolises from New York to Paris. These glory days were not to last. Within just few years neon signs were removed from their downtown pride of place, demoted instead to apologetically jutting out from roadside motels and peripheral dive bars.By the time that a group of American artists became known for using neon in the 1960s it had become the go-to metaphor for philosophers and writers lamenting Read more ...
Gavin Dixon
Daniel Barenboim is as distinctive as he is unpredictable. His considerable strengths – dynamism, passion, keen intellectual engagement – are balanced by some notable weaknesses – clunky tempo changes, lack of detail – but all configure differently in each performance. This Prom was a success largely for the fresh perspectives he brought to Mozart and Bruckner, both composers prone to stiffness and formality from less adventurous performers.If the Mozart was the less successful, it was because Barenboim seemed to take his ideas too far, always working just outside the bounds of classical Read more ...