Reviews
Guy Oddy
As her rendition of “Double Rainbow”, from recent album Prism, draws to end, Katy Perry announces into her microphone that “It was the music that brought you here! You like the costumes and lights but the music brought you here!” The funny thing is that actually the music is the least of things in the Katy Perry live spectacular. The stage set is loaded with trap doors, moving platforms, dry ice, lights, lazers, a troop of dancers in day-glo costumes that bring more than a sniff of Alice in Wonderland to the proceedings but we are four songs into her set before we see anyone with a musical Read more ...
philip radcliffe
By picking his way through Homer’s Iliad and Odyssey, and Virgil’s Aeneid - written 600 years later - Simon Armitage has it all, including the horse and Helen, each of whom in their way enable the hordes to breach Troy’s gates. What with that and the mingling of mortals and gods, not to mention the 100,000 troops that Agamemnon leads across the Aegean to rescue Helen, there’s a lot to attempt to pack into this theatre’s intimate space in three hours. Rather too much as it turns out.In order to accommodate the action, director Nick Bagnall has moved slightly away from the usual in-the-round Read more ...
edward.seckerson
On the Richter scale of catchiness Richard Adler and Jerry Ross’s songs for The Pajama Game are right up there. Quite who did what in their brief but shining songwriting partnership was never entirely clear, though Adler claimed supremacy in the music department. But one thing is clear: the man who brought them on and pushed them forward - the great Frank Loesser - is all over their work like a rash. It is said he wrote two of the Pajama Game songs uncredited but he could easily have written at least one other. Had Ross not died prematurely after their second consecutive smash, Damn Yankees ( Read more ...
Russ Coffey
“We're gonna hit the road harder than we've hit it in a long time… There's no bullshit going on.” So said Drive-By Truckers’ co-frontman Patterson Hood last February. From the grin he wore while he took to the stage last night, it was evident this had been no empty promise. Despite a sound quality that was decidedly meh throughout, the band succeeded in filling the Shepherd’s Bush Empire with the atmosphere of an Alabama roadhouse.It helped that support act, Heartless Bastards, kicked off proceedings with some of the most joyous lo-fi stomping you could hope to find this side of Jack Read more ...
emma.simmonds
Speaking at the BFI's recent preview Jia Zhang-ke revealed that his surprisingly bloodthirsty latest is in fact, contrary to the shift it seems, the next logical step in his journey as a filmmaker: an amalgamation of his interest in personal crisis and his great love for the work of John Woo. Jia described A Touch of Sin as the film where he finally puts a "gun in the hands" of his beleaguered protagonists. It comprises four stories from the economic giant and human rights black hole that is modern China, each of which culminate in cataclysmic violence. With visuals inspired by traditional Read more ...
Matthew Wright
At least no one can accuse BBC comedy of an obsession with youth and relevance with this one. In airing a trial episode of Monks, an idea that’s been lurking in their ideas department for over ten years, the corporation’s comedy team is focusing on a lifestyle that was largely banished from English life by Henry VIII. There are some good jokes and amusing sketch-scenes, but their targets slap the forehead of obviousness every time, while the characters - especially Mark Heap’s angry and repressed deputy abbot Francis, Justin Edwards’ hapless loser Brother Bernard, and Angus Deayton’s satin- Read more ...
bella.todd
There are echoes of Lost in the crashed B-25 bomber that fills this often brilliant production with its rusting corpse. And they’re probably intended. Joseph Heller’s cult World War Two satire is, after all, about a kind of purgatory: US Army bombardier Captain John Yossarian is trapped by the absurdities of bureaucracy within a cynically perpetuated war where the ubiquitous Catch-22 states that anyone asking to be declared insane and discharged from duty must be well enough to continue to fly - fear of death being a rational human response.He is caught, too, by suppressed grief and guilt Read more ...
Tom Birchenough
The classic Japanese director Yasujiro Ozu named a number of his films after the seasons, but he restricted himself to spring, summer and autumn. I don’t believe he ever titled one after winter - not that his work doesn’t touch on the closing of the year, and its associations with death. Re-released in a wonderfully restored print, An Autumn Afternoon turned out to be the director’s last film, made in 1962; the previous year had seen the death of Ozu’s mother (the director never married, and lived with her all his life), and Ozu himself would die a year later. But while there is sadness here Read more ...
Tim Cumming
Did you know that Chaka Khan has her own brand of gourmet chocolate she calls Chakalate? Or that she recently extended a helping hand to the media's favourite punchball, Lindsay Lohan, after they spent some time in the same rehab centre (Chaka for prescribed meds following a foot operation)? What you need to know is that she is back in London, a high-megawatt superstar letting it rip in the intimate confines of the city's most famous jazz club, taking the stage at 7.45pm for the first of two shows each night for three nights, behind her the crack British jazz-funk band Incognito, and in front Read more ...
Bernard Hughes
The question about Harrison Birtwistle’s Down by the Greenwood Side is: what is it? Designated by the composer as a “dramatic pastoral”, which is not very enlightening, it is not really an opera, nor a play with music, nor a piece of performance art, but somehow a winning combination of all three.Commissioned by the Brighton Festival in 1969, the revival of Down by the Greenwood Side is part of the celebrations for the composer’s 80th-birthday year, and Sir Harrison was in the sold-out audience at the Sunday performance. But it is hard to connect the present Birtwistle, elder statesman of the Read more ...
Veronica Lee
Waiting For Godot is one of those plays which even those who have never seen know something about. “A tragicomedy in two acts,” as Beckett's subtitle described it, in which two tramps in bowler hats blether on about boots and a bloke who never appears, and where, in Irish critic Vivian Mercer's immortal words, “nothing happens twice”. And if they know nothing else about it, they surely can quote the play's most famous line: "We give birth astride of a grave."Now comes Simon Dormandy's “reimagined” version aimed at a younger audience. Out go the bowler hats and in come baseball caps, one of Read more ...
Thomas H. Green
When Kelis first walks onstage in a shimmering blue ball dress, a gigantic mane of black hair falling down her back, gay men all about me in the circle seats spring to life, some veering into “Go girl!” territory, others simply shrieking, and one in the row behind calmly saying to a neighbour, “She is just magnificent.” I'd not realised she was quite such a gay icon but this concert offered definitive proof. That said, gay and straight alike proved hugely vociferous throughout, hailing Kelis like a homecoming queen to a Brighton that was midway through the Great Escape music industry shindig. Read more ...