Reviews
Jasper Rees
The sclerotic culture of dithering that afflicts the higher-ups at the BBC has been mercilessly exposed in W1A. It turns out that fear of failure was always a managerial thing at the corporation. How else did Dad’s Army have such a bumpy ride to birth? As told in We’re Doomed! The Dad’s Army Story, one of the most enduring sitcoms ever made was very nearly never made.Stephen Russell’s script took the facts of the story and wove them into a comedy drama that touched and tickled in equal measure. At the heart of it was the partnership of David Croft and Jimmy Perry, one a producer barely Read more ...
David Nice
Relatively recent tweaks to the abundant London concert scene have resulted in top-end events right up to Christmas. We have in part to thank the seasonal festival at St John’s Smith Square, postponing the Orchestra of the Age of Enlightenment’s holidays, putting them together with superb soloists and choirs, and serving up major Handel and Bach. One snag: their Christmas Oratorio when I last went to hear it turned out to be only four cantatas out of the sequence of six.You’d have to pay two period-instrument horn players if you included Part Four – the OAE didn’t – and yet as Richard Read more ...
Lisa-Marie Ferla
It stands to reason that the contents of a prequel can never be entirely surprising. Some details have to be constants, some plot twists left unturned. As soon as it became clear that the second series of Noah Hawley’s Fargo predated the events of the first by some 25 years, we knew that state trooper Lou Solverson (Patrick Wilson) would be left standing at the end of it. But of all the things to have as a constant, Wilson’s sympathetic portrayal of the steadfast cop was as secure a tether as they come.The universe of Fargo is one in which anything can happen, and frequently does – we’re Read more ...
Sebastian Scotney
L'Arpeggiata seem to revel in being L'Anachronista. The baroque-jazz group led by the Graz-born theorbo player Christina Pluhar has been proudly and brazenly flouting the dictates of those who set the rules of Historically Informed Performance (HIP) for all 15 years of their existence.The printed programme, for example, mentioned “Francesco Turrisi – harpsichord”, and described in detail the delicious and lengthy agonies of tuning which his 1624 Ruckers copy harpsichord would have gone through prior to the concert; but what it didn't mention was that Turrisi would be spending roughly Read more ...
Kieron Tyler
Is language a barrier to international recognition? Is English necessary to make waves worldwide? Musicians from the African continent and South America regularly perform in their native tongue beyond the borders of their home countries. But often they are – rightly or wrongly – marketed or pigeon-holed as world music, a branding which allows for eschewing the Anglophone. The always problematic label of world music can be and is debated endlessly, but one thing is certain: for Scandinavia, most internationally successful music is delivered in English.Of course, after setting quirky micro- Read more ...
Matt Wolf
You'll feel guilty for having bothered with a programme after seeing The Lorax, the Dr Seuss adaptation that puts saving the environment centre-stage at the Old Vic just as the recent climate change gathering in Paris has done on the world stage. Full of unimpeachably good intentions, the production is fun and frolicsome up to a point, and sometimes simply bewildering.A second Matilda it most certainly is not, even though the Vic is now in the care of that great musical's director, Matthew Warchus. But Max Webster's production offers sufficient invention to more than sustain a six-week run, Read more ...
Richard Bratby
Is it possible for a carol concert to have a cult following? Ex Cathedra's annual Christmas Music by Candlelight performances in St Paul’s Church have quietly grown into a Birmingham institution. The audience has evolved its own rituals: camping out through the long interval in the box pews, and sharing improvised picnics of mulled wine and mince pies.The formula, devised by Ex Cathedra’s director Jeffrey Skidmore back when Birmingham's Jewellery Quarter was still lit by gaslight, is simple enough to allow creative elaboration: a candlelit sequence of mostly a capella, mostly modern choral Read more ...
Tom Birchenough
Was it just my bewilderment, or were there even more criss-crossing narratives than usual in this third series of The Bridge? As in, unusually expanded levels of human traffic, in various forms of distress, flowing under said structure.The Bridge, along with other Nordic noir that we’ve come to love, has long adopted the position that the best way to get from a to d is via x, y and z. It’s gripping in its ability to interconnect stories, but occasionally everyting gets a bit much. Somewhere early in episode nine we had Saga (whom we should really call Séga?) and new partner Hendrik (much more Read more ...
Dylan Moore
While Christmas is the season when traditional theatres trot out the tired clichés of panto, the ever-innovative National Theatre Wales have decided, in their wisdom, to stage a surreal, psychedelic theatre-gig at the Sophia Gardens cricket ground in Cardiff. Based on an idea originally conceived by Super Furry Animals frontman Gruff Rhys, artist Pete Fowler and graphic designer Mark James that has already spawned Rhys’s 2007 solo album Candylion, the "insatiable, inflatable" and very much larger-than-life version sees the musical polymath reteam with writer Tim Price and director Wils Wilson Read more ...
Kieron Tyler
The news that Lush have reformed didn’t come as surprise. Their comparable contemporaries Ride and Slowdive had also done so over the past couple of years, and My Bloody Valentine – an influence looming over all three – returned in 2007 after over a decade’s abscence. Unlike the others, Lush, who were on 4AD rather than Creation, have reissued their complete catalogue as a box set during the run-up to re-hitting stages next May. Chorus has the potential to eclipse the reappearance as it doesn’t edit history like a one-or-so hour live concert.With Lush, editing is probably necessary to make a Read more ...
David Nice
Searing emotional truth has to be at the core of any attempt to stage Tchaikovsky’s “lyrical scenes after Pushkin”. I was among the minority who thought Kasper Holten got it right, with deep knowledge of the original verse-novel, in his first production as Covent Garden’s Director of Opera back in February 2013. Then he had total commitment from Simon Keenlyside and Krasimira Stoyanova as an Onegin and Tatyana looking back in anguish on their youthful selves, and Pavol Breslik to the manner born as doomed, callow poet Lensky. This time only one of the three principals is about much more than Read more ...
Thomas Rees
Contemporary jazz is a world full of magpies – artists who flit between genres and build glittering nests of disparate musical influences. Rock up to a so-called jazz night today and the repertoire can come from anywhere, you’re as likely to hear Jimi Hendrix or J. Dilla as Jerome Kern, and pianist Brad Mehldau has played a role in making that happen.Over the course of the past twenty years, Mehldau has established himself as one of the most distinctive and influential pianists of his generation, a musician with a healthy lack of respect for musical boundaries. Cast an eye over the tracklist Read more ...