Reviews
edward.seckerson
How much familial dysfunction and lust - whether for sexual gratification or revenge - can one take in a single weekend? Salome and Elektra back-to back may on paper seem like a feast of divine decadence but no sooner had one become accustomed to the sickly sweet air of the former when the putrefaction of the latter (I always think that Strauss’ orchestra is in the final stages of decay with Elektra) filled one’s nostrils - and ears. Then there was the little matter of inevitable comparisons, of Salome - with Stemme, Runnicles and his fabulous Deutsche Oper Berlin Orchestra - being one of the Read more ...
Karen Krizanovich
Everyone loves a homegrown hero – and they don’t get more homegrown than Before I Go to Sleep, the thriller written and directed by Rowan Joffe, son of Roland Joffe, director of The Killing Fields and The Mission. Before I Go To Sleep is, arguably, one of the most anticipated British films of 2014. The script is based on the Faber Academy sensation of 2011, ex-audiologist S.J. Watson’s novel of the same name. Taken on by Ridley Scott’s production company, the high-end cast stars Nicole Kidman as Christine Lucas, Mark Strong as her physician Dr Nash and Colin Firth as Ben, her husband. Read more ...
David Nice
So here’s where I join the ranks of Old Opera Bores by declaring this Salome, Nina Stemme, the best I’ve seen since Hildegard Behrens in 1978, and this Salome as in Richard Strauss’s Wilde opera from Donald Runnicles and his Deutsche Oper Berlin ensemble categorically the most near-perfect. It’s also the first time I’ve had a group of very loud, rude people behind me shouting “sit down” when I stood at the end (and John the Baptist’s God knows I don’t do that often). To which the only answers were “stand up yourselves” and “what does it take?” Most of the arena stalls eventually followed suit Read more ...
Tom Birchenough
You didn’t have to wait for the words in the closing credits, “written and presented by”, to know that The Writers Who Shaped a Nation was a project that Andrew Marr was involved with fully. Its sheer broadcasting quality showed it from the beginning. It’s the first project that has taken Marr out of the studio since his stroke, and it confirmed that his agility of mind (and legs, given the amount of mountain walking involved) was as powerful as ever.Simply put, viewers can really feel the difference when a presenter is clearly the master of the script from beginning to end. It’s far from Read more ...
Christopher Lambton
It is the fate of Edinburgh Festival directors to programme their music in the considerable shadow cast by the Proms in London. The undeniable economics of large scale touring means that few orchestras will visit Edinburgh alone, so to attract all-important critical attention the Festival must somehow manipulate a limited touring repertoire to create a unique Scottish event. But on the other hand, the festival must also recognise that for most of their discerning local audience the Proms are little more than a massive irrelevance that serve only to clutter up the BBC schedules for months on Read more ...
Kieron Tyler
The 13th Floor Elevators: Live Evolution Lost“I lost control of my body. I looked up and Tommy and Roky were turning into wolves, hair and teeth. And in my mind I was hearing the echo of space, and rays of light were shooting through the roof. All of a sudden there was a vision in light that we were wolves and we were spreading drugs and Satanism into the world. These angels walked into the room and they had light shining on them.”Stacy Sutherland, The 13th Floor Elevators’ guitarist’s subsequent memory of the events surrounding the live show caught on Live Evolution Lost were vividly Read more ...
Russ Coffey
Ms Bush walked on in a black, tasselled tunic with the slight air of an aging hippy. Her feet were bare and her tousled hair was half tied-back. And that – for anyone who had managed to avoid the papers all week – answered the first question: what she would look like. That just left us to see for ourselves what she would sing and do.One would have thought a couple of days’ distance from the first night hype would have made it easier to appreciate the concert for what it was, rather than how people felt about her. But, from the moment Kate’s silhouette appeared in the wings and the entire Read more ...
Caroline Crampton
Richard Bean has had a busy year, and it isn’t over yet. Great Britain, his bawdy play about press ethics and police corruption, is transferring to the West End after hitting the spot at the National. Pitcairn, a new piece about the aftermath of the mutiny on the Bounty, will shortly arrive at the Globe after turning heads at the Chichester Theatre. And Made in Dagenham, a musical version of the 2010 film for which Bean has provided the book, looks likely to be one of the West End highlights of the autumn.Given all that, it’s fitting that we should take a step back and remember where it all Read more ...
Tom Birchenough
What a difference four days can make. Stammer School: Musharaf Finds His Voice took us on an emotional journey from deep frustration and pain towards something like triumph and hope. "Triumph" may seem a big word, but it was hard to think of a better one after the film’s final scene where the stammerers whose progress we had been following came out and spoke with confidence in public.The one we knew best was Musharaf Asghar from last year’s Channel 4 Educating Yorkshire, with its closing episode that showed the severe stammerer reading a poem out aloud to the school. He’d been coached and Read more ...
Emma Dibdin
Opening as it does on a frank, witty and somewhat extended discussion of female discharge, Obvious Child lets you know from the outset that it is every bit as uninterested in making nice as its blunt lead character. Jenny Slate is Donna, a late-twenties comedienne who drily mines her less-than-aspirational life and stagnant relationship for laughs during standup sets, only to be unceremoniously dumped one night when the boyfriend in question tires of being used as material. Immediately, then, writer-director Gillian Robespierre is doing something compelling with the question of what Read more ...
Simon Munk
CounterSpy looks brilliant. This stealth-action adventure delivers a perfect Man From U.N.C.L.E. spy aesthetic in videogame form. And largely delivers on the premise in gameplay terms too.Two superpowers are locked in a pointless and potentially genocidal arms race. Enter C.O.U.N.T.E.R. – on the surface, this sneaky outside agency is there to disarm both sides and stop them from blowing up the moon. Yes, the moon.CounterSpy steals its aesthetics from 60s and 70s spy TV thrillers such as Man From U.N.C.L.E. and Bond films. The US side's levels are filled to bursting with hordes of dimwitted Read more ...
Christopher Lambton
The Edinburgh Festival reserved its biggest operatic event for last. From St Petersburg, the Mariinsky Opera brought a production of Berlioz’s Les Troyens that could truly be described as epic: a stellar cast, a vast trompe d’oeil set, and an overall duration comfortably over five hours. A large audience greeted it enthusiastically, but not ecstatically. Maybe exhaustion had set in: there were yawns and smiles in equal measure on the way out.Les Troyens is really two operas. In the first two acts Troy falls to the Greeks after the naïve defenders ignore the prophecies of doom from Cassandra Read more ...