Reviews
Tom Birchenough
We see the harshness of everyday life in Danis Tanović’s An Episode in the Life of an Iron Picker first in its snowy, subsistence landscapes, as hero Nazif goes out to the forest to bring in whatever wood he can find to keep the family home warm. But by the end of the film, which took the Jury Grand Prix at last year’s Berlinale, we have seen, much more chillingly, the harshness of human behaviour.Nazif and his wife Senada are from Bosnia’s Roma community, living with their two young daughters in a remote village. Home life is happy, even if sparse in comforts, and Senada is pregnant. Nazif Read more ...
Caroline Crampton
Usually, to describe a play as "of its time" is a criticism. It is suggestive of drama that hasn't aged well, that doesn't work quite as well for today's audience as it did for the original crowd. First performed in 1847, Dion Boucicault's The School for Scheming seems at first glance to fall into this category, with its mannered language, twisting plot and moral overtones.But, as this revival demonstrates, pre-emptive assumptions of staleness can be confounded by a production that is all witty observations, sly mimicry and sarcastic asides. As the title would suggest, the action Read more ...
Adam Sweeting
There's always room on top for another TV anti-hero. After Tony Soprano, Breaking Bad's Walter White and Mad Men's fatally flawed Don Draper, here's Martin Freeman as Fargo's Lester Nygaard, a downtrodden failure of a husband as well as a second-rate insurance salesman. It could have been worse - they could have made him a journalist or an estate agent.Freeman has quietly blossomed into the little guy who could, a seemingly innocuous presence who's suddenly capable of holding up his end of the screen against all-comers however stellar, whether it's Benedict Cumberbatch or Sir Ian McKellen. In Read more ...
fisun.guner
If you’re not already familiar with at least some aspects of Chris Marker’s work, this exhibition will feel overwhelming, if not confusing. You may have to pay a second visit to get the most out of it, or even make sense of it. It’s certainly a demanding retrospective of the influential French filmmaker, and an immersive "surround-screen" gallery survey probably isn’t the best introduction.Still, I feel compelled to commend the ambitions of the Whitechapel Gallery in bringing Marker’s work to wider public attention and doing its best to highlight themes across a life’s work (“career” is a Read more ...
Jasper Rees
From the balcony overlooking the mosh pit you get a good idea of how long a band has been going. Last night at the Shepherd’s Bush Empire, The Men They Couldn’t Hang celebrated their 30th anniversary while a small kinetic cluster of mainly bald 50-year-olds pinged into one another like shiny billiard balls. A fiver says a sheepish accountant or two will have had some explaining to do this morning in A&E.The Men could and should have been contenders. For the second half of the Eighties, they were. Forged in the crucible of Thatcherism, they quickly established themselves as England’s Read more ...
Sebastian Scotney
The German soprano Diana Damrau has had the role of Violetta Valéry in La Traviata in her sights for a very long time. As she has explained in interviews, seeing the Zeffirelli film of the opera, with Teresa Stratas in the title role, as a 12-year old was a decisive moment in making her want to become a singer. That was 30 years ago. Now, as the pre-eminent high soprano in the world, she is performing the role in several leading opera houses. Last night she made her debut as Violetta at Covent Garden.Damrau's musicality and security of vocal line are spellbinding. It is impossible to imagine Read more ...
Jasper Rees
The last time the BBC dramatised the creation of a great musical work, it didn’t quite hit the spot. Eroica starred Ian Hart as Beethoven glowering at the heart of a drama which had rather less of a narrative through-line than the symphony it honoured. For Messiah at the Foundling Hospital, the BBC have gone to the other extreme and kept eggs out of the one basket. There was a bit of drama, a bit of documentary, some costumed musical performance and there were even two presenters to come at the story from opposite angles. The potential for hodge-podgery was considerable.The story of Coram’s Read more ...
Kieron Tyler
John Tavener: The Protecting VeilIn its tribute to John Tavener which followed his death last November, theartsdesk acknowledged the difficulties his devotional music brought. David Nice asked “what was there here that I couldn’t get from a standard traditional service?” He continued to describe The Protecting Veil as a masterpiece which “certainly cast its spell.” The tribute also included a fond and frank reminiscence from cellist Steven Isserlis, for whom The Protecting Veil was composed. Tavener was “was complicated," he said, "and could be very difficult.”This reissue of the Read more ...
Matt Wolf
Even Emma Thompson's finely honed deadpan delivery can go only so far in The Love Punch, a caper movie (remember those?) that moves from the implausible to the preposterous before sputtering to a dead halt. A revenge comedy nominally steeped in a desire to right social injustice, writer-director Joel Hopkins's film soon abandons all loftier aspirations in favour of one jaw-droppingly daft sequence after another. If you've ever wanted to see four distinguished British thesps d'un certain age don body-hugging scuba gear while they attempt to crash a French wedding by any means necessary, here's Read more ...
graham.rickson
Britten to America – music for radio and theatre Hallé/Sir Mark Elder, Ex Cathedra/Jeffrey Skidmore Samuel West (narrator) (NMC)The official catalogue of Britten’s music currently runs to 1183 pieces – so, besides the 95 works with opus numbers there’s an enormous amount which remains little-known. The works assembled here can’t be described as juvenilia. Not everything stands up to repeated listening, but much of the music is highly engaging. Britten’s score for Auden and Isherwood’s mountaineering drama The Ascent of F6 was written largely on the hoof, and he was exasperated by the Read more ...
Jasper Rees
“You’re great listeners. You have surrendered your ears.” The reverent hush that descended for two hours on the Festival Hall is a new sort of sound at a Christy Moore concert. There was a time when such a gathering would bristle with fervour. Twenty years ago, if not of Irish descent, you could feel distinctly like the odd one out. Things have changed, for any number of factors: the peace dividend in Ulster, the ever-diluting Celtic DNA of the Irish diaspora, while the senior sections of Moore’s audience – and pensioners abounded last night – have grown older and less raucous with him.But Read more ...
Matt Wolf
What is it with the London theatre and this particular Arthur Miller play? In 1987, Michael Gambon reached a career-best peak playing the Italian-American longshoreman, Eddie Carbone, in a defining National Theatre revival of A View From the Bridge directed by Alan Ayckbourn, and Ken Stott was arguably even more scorching in the same role on the West End five years ago. Now along comes the Flemish director Ivo van Hove to rattle the cages of received theatrical practice with a stripped-back approach to Miller's high-octane text that places the focus directly on leading man Mark Strong and an Read more ...