Reviews
caroline.boyle
If you choose to walk between the venues of the 2012 Glagow InternationaI Festival of Visual Art, the incredible energy of the place engulfs you and you begin to understand why so many artists have made it their home. All eras of architecture and layers of the City’s history seem to be represented: you gawp at monolithic buildings which seem to rise and fall almost before your eyes, with gems from the past sandwiched as improbable survivors. The festival presents a wonderful excuse to seek out venues and areas you may never have visited before. Indeed it’s a major part of the visual Read more ...
David Benedict
It's amazing what working on a masterpiece can do. Commissioned to write a companion piece to Terence Rattigan's magnificent one-act drama The Browning Version, David Hare has abandoned his journalistic tendencies and written a gently oblique play of controlled emotional eloquence. Beautifully directed by Jeremy Herrin and Angus Jackson, the engrossing pairing is a marvel of quiet restraint brimming with fear, love, pain and the whole damn thing."From the very beginning I realised that I didn't possess the knack of making myself liked." As desiccated classics teacher Andrew Crocker- Read more ...
igor.toronyilalic
This has to be the only music festival I've ever been to where two vacuum cleaners were on standby in case the star performer conked out. But that's what happens when your star performer is a player piano - they seem to run on Hoover tubes. With 11 concerts and one film in two days, this celebration of American maverick Conlon Nancarrow was London's alternative marathon. One that was no less eccentric, exhausting or adrenalin-generating (though much less running-based).At the core of the weekend was a nine-concert cycle of the complete studies for player piano. As far as anyone knew, it was Read more ...
Veronica Lee
What a joy this once-in-a-generation season is. From Moscow comes this free-wheeling production of Shakespeare's great morality play, and one that also makes remarkably free with the text too. Even those familiar with Measure For Measure will be thankful for the surtitles, particularly in the second act when director Yury Butusov dispenses with whole scenes, including the denouement.It starts with the familiar story; we are in Vienna, a city that has fallen into dissoluteness, where the Duke hands over power to his stern deputy Angelo, only to disguise himself as a monk to see how Angelo will Read more ...
alexandra.coghlan
“It’s easy for me to talk to you; we don’t know each other”. Robert Holman’s Making Noise Quietly is a work that, like its title, lives in the delicate push-pull of contradiction: intimate strangers; bloodless wars; silent screams. Not one play at all but three short pieces – panels in an inscrutable triptych – its process is oblique, its emotional momentum cumulative, the impact devastating.The clamour of war may provide the background hum through all three dramas, but this thematic pedal point scarcely anchors the dissonant roamings of Holman’s theatrical melodies. When Holman writes of war Read more ...
igor.toronyilalic
Oh boy. More Schubert. Deep breath. I had flashbacks of last month's wall-to-wall Franzi on BBC Radio Three. Nothing's come closer to ending my lifelong love affair with the tubby Austrian than the endless stream of half-finished three-part drinking songs that seemed to become the mainstay of that week-long celebration. Thankfully, last night at the Royal Festival Hall, we weren't getting any old Schubert. We were getting the great final trio of piano sonatas. And it wasn't just any old pianist performing them. It was Mitsuko Uchida. Who better to rekindle my feelings for the composer than Read more ...
Matt Wolf
So, what's the "problem"? All is right with the world - or the theatre at least - in the Maori-language staging of Troilus and Cressida from the Auckland-based Ngakau Toa troupe that pierces right to the troubling heart of this first of Shakespeare's three so-called "problem plays". (The next, Measure For Measure, follows Troilus in the Globe to Globe line-up, a scheduling decision sure to be balm for scholars.) Inaugurating an epoch-defining sequence of blink-and-you-miss-'em Shakespeare productions from across the, um, globe, director Rachel House and her company of New Zealanders have Read more ...
aleks.sierz
Unlike the National, the RSC has not had a good record of producing exciting new plays in the past 20 years or so. But one exception to this rule is the theatre’s support for the work of David Edgar, whose masterpiece Pentecost was put on by them in 1994. Now, with his latest, Written on the Heart, arriving in the West End, where it opened last night in a production directed by Gregory Doran (the RSC’s newly appointed artistic director), audiences will have a chance to travel back in time to explore a crucial event in the creation of English culture and national identity.But they will need to Read more ...
fisun.guner
Manchester was once known as Cottonopolis, since the city was once at the centre of the vast global industry reponsible for its growth and prosperity.The Whitworth Art Gallery, which is part of Manchester University, has in its collection a wealth of textiles, providing not just a colourful history of local cotton manufacture, but tracing the trade’s international links. However, this exhibition is less historical overview, more discursive exploration of the cotton trade’s social impact.The exhibition provokes questions surrounding the ethical production of what had become, by the end Read more ...
alexandra.coghlan
Incest, rape, torture and matricide, as well as an obligatory spot of cross-dressing, all played their part in making Matthew Lewis’s Gothic novel The Monk the scandalous success of its day. But with such stuff the bread and butter of Hollywood’s unblinking horror departments, why would a contemporary director choose to revisit this period classic? It was apparently a lifelong ambition of Surrealism’s greatest filmmaker Luis Buñuel to adapt The Monk for the screen. It’s a tantalising prospect of what might have been, and one that speaks not only to the bloody and allusive thrills of the Read more ...
Jasper Rees
It becomes increasingly difficult for a detective to create any sort of elbow room on the small flat screen in the corner. Up in Denmark they’ve been taking the extreme route, where the dour, bejumpered Sara Lund of The Killing looks like a Butlins entertainer next to Sofia Helin’s hatchet-faced autistic sleuth Saga Noren in The Bridge. In Blighty we churn out far more of these things than the Danes, but not much seems to have moved on much since Inspector Morse started feeling queasy around corpses and necking real ale two decades back. We still get our crimebusters from a strictly limited Read more ...
Steven Gambardella
There was something perverse about the opening of Liza Lou’s show at White Cube in Hoxton Square on a wet Thursday evening. It was as quiet as I’ve ever known it inside, while outside, barred from drinking among Lou’s fragile works, a throng of people guzzled free beer on the other side of the street in the rain.From the second floor where the most plaintive works shimmer against the white walls, you could look down and wonder why White Cube insists on plying them with beer. It seems to add the same kind of crowd-fuelled bluster to the event as movie premieres, to make the invited feel Read more ...