Reviews
stephen.walsh
Music, Wagner famously pronounced, is the art of transition. For the Swiss composer Michael Jarrell, by contrast, music is “the art of punctuation”. On the one hand, how to get from one thing to the next; on the other hand, how to separate one thing from the next. But in the end the problem is much the same: how do we make sense of large chunks of time that contain nothing but music?
Jarrell, whose work provided the focus for the first of two BBC “Portrait” concerts in Cardiff’s Hoddinott Hall, comes at this problem from a rather particular angle. Now in his early fifties, he worked for a Read more ...
Matt Wolf
What's the Greek for "oy"? All the bouzouki dancing and retsina in the world wouldn't be enough to make a satisfying play out of Onassis, Martin Sherman's rewrite of his own Aristo, seen two years ago at Chichester with the same director (long-time Sherman collaborator Nancy Meckler) and absolutely invaluable leading man (Robert Lindsay). The star gives the piece his customary highly theatrical all, in the process making you think perhaps the material really is the stuff of genuine tragedy. But all the high-flown talk of "destiny" and whatnot can't shift what Onassis actually is - less a Read more ...
gerard.gilbert
Far more than gay men, lesbians are one of the great invisible minorities of British TV drama – British TV generally, in fact. Sure, there have been the milestone moments – the Brookside kiss that titillated the nation back in 1994 and was the making of the then 18-year-old Anna Friel, or Jeanette Winterson’s terrific 1989 adaptation of her own novel, Oranges Are Not the Only Fruit. Both featured lesbianism as an issue or a problem rather than a well-adjusted sexual orientation.More recent dramas have set the Sapphism in the past, with the likes of Fingersmith, Tipping the Velvet or The Read more ...
neil.smith
Success has many parents, the old saying goes. And that’s certainly the case in David Fincher’s new film, an enthralling dissection of one of the great success stories of our age. When Harvard undergraduate Mark Zuckerberg devised a putative version of the Facebook website in October 2003, he can not have imagined it would spawn a global phenomenon with more than half a billion users. Nor could he have predicted it would result in a sea of litigation that would pit him and his company against both aggrieved former friends and slighted foes alike.Of course, there’s every chance the version Read more ...
Veronica Lee
Many theatregoers will be familiar with Clifford Odets’ Awake and Sing! which was given a recent revival both in the West End and on Broadway, or film-goers with his screenplay for Sweet Smell of Success (1957). Some will know his backstage drama The Country Girl (written in 1950) from the 1954 film version starring Grace Kelly, playing opposite Bing Crosby and William Holden, for which she won an Oscar.The Country Girl hasn’t had a major London revival for nearly 30 years. Back then it starred Martin Shaw as the cocky young director Bernie Dodd and now in this slick production he plays the Read more ...
David Nice
It didn't help that the London Symphony Chorus sounded rough and hectoring rather than earthily ecstatic - and I'm not sure how well they had been coached in the Czech-language mass settings. Heroic tenor Simon O'Neill, Sir Colin's last-minute Otello in the LSO's 2009-10 season, slipped in a couple of bizarre "Svats", too, between the "Svets" of his colleagues, but his anguished trumpeting - strikingly complemented at one point by a shrill, muted equivalent in the orchestra - suited his role as urgent celebrant. There were angelic sounds from soprano Krassimira Stoyanova, and Catherine Read more ...
graham.rickson
To paraphrase a cliché, it’s rare to leave a theatre humming the lighting. But here, Matthew Haskins’ lighting designs help make this production so powerful and evocative, whether projecting grotesque, distorted shadows on the back wall of Madeleine Boyd’s claustrophobic set, or illuminating characters’ subtle facial expressions. Dawn and dusk are both beautifully realised, and when we’re finally shown a brightly lit stage at the opera’s shocking close, you almost have to shield your eyes.Watching an opera about the corruption of childhood innocence is an uncomfortable sensation, and this Read more ...
Veronica Lee
Russell Kane, a thoroughly deserving nominee, was the surprise winner of the Edinburgh Comedy Award (ECA) - the bookies’ money was on young American Bo Burnham - with a show that explores his troubled relationship with his late father, a man with some very right-wing opinions on life and politics. Kane describes Smokescreens and Castles as “an elegy” to his dad, but it could equally be described as a riveting and frequently hilarious socio-political documentary on a working-class boy made good, the first member of his family to go to university and now making a living in the liberal arts.At Read more ...
Adam Sweeting
The American networks have so far been able to resist the stick-insectish charms of David Tennant, but the BBC would probably start up a new channel just for him if he asked them. In this new four-parter, his comeback appearance after handing over the keys of the TARDIS to Matt Smith, Tennant plays Dave Tyler, a successful Glasgow photographer married to teaching assistant Rita (Laura Fraser). They have a ramblingly large house full of kids and a dog, and live one of those exuberantly chaotic lives that only exist in TV drama, where domestic duties and hectic leisure activities magically co- Read more ...
Matt Wolf
Why ironic? Because this is one fella whose bad temper risks isolating him altogether from human company - except that misery, we're told, loves companionship, in which case William's entire family is going down with the ship. Whether audiences will go along with that descent depends upon individual tolerance for the sort of person we all know exists but whom we tend to prefer in some sort of redemptive or at least linguistically vibrant dramatic presentation, not the doleful termagant on view here.Bruce Alexander brings undeniable commitment to the part of a financially successful, self-made Read more ...
Kieron Tyler
Twenty-five years ago, a-ha achieved something unprecedented for a Norwegian band: they entered the British charts. The week of 5 October, 1985 saw “Take On Me” enter the Top 40. Three weeks later it peaked at number two. To mark the anniversary, a-ha have chosen to do two things: embark on a worldwide farewell tour and play a special show at the Royal Albert Hall, running through their debut album, Hunting High and Low, with a full orchestra. That not being enough for a full show, they also played its follow-up, Scoundrel Days. Both a first and a last, the concert was a homecoming to the Read more ...
Jasper Rees
On the set of Downton Abbey I recently put some questions to Maggie Smith. She was reflecting on the end of her incarceration in Hogwarts. “Alan Rickman and I ran out of reaction shots,” she said, in exactly that mock-baffled tone you’d expect of her. “We couldn’t think what sort of faces we would pull. I remember him saying he’d got up to about 360-something and there weren’t any left.” On the glorious evidence of The Song of Lunch, Rickman was keeping some back.This was as audacious a piece of thinking outside the box as the BBC drama department has committed in years. You wonder whether it Read more ...