Reviews
stephen.walsh
By far the most uncomfortable – perhaps the only uncomfortable - thing about Richard Strauss’s last opera is the date of its first performance. In October 1942 the battle of El Alamein was raging and the British were bombing German cities while the Munich opera audience were entertained by a rambling disquisition on the respective merits of poetry and music as art forms, set in an eighteenth-century French château. What modern director could resist this provocation? Stephen Medcalf positively draws attention to it in his new staging for Grange Park Opera by transplanting it bodily to – wait Read more ...
graham.rickson
Among the many pleasures of Donizetti's Mary Stuart is the fun of watching a chunk of primary-school history filtered through a florid bel canto imagination. There are moments when you want to cry out, “That’s not what happened!” But it’s so fast-moving, so well-paced, that you soon stop complaining and just surrender.
Based on Schiller’s play Maria Stuart, the opera recounts the tragic story of Mary Queen of Scots, imprisoned and eventually executed by her cousin Queen Elizabeth. For an Italian composer, the dramatic potential of a Catholic heroine tormented by an evil Protestant Read more ...
judith.flanders
It is hard to think of anything more "foreign" than kabuki to the Anglo style of acting, a style which reveres naturalism and makes "reality" its ultimate aim. Yet kabuki is gaining a knowledgeable – and welcoming – audience in London. The Shochiku Kabuki Company was at the Barbican last year, performing in Yukio Ninagawa’s brilliant Twelfth Night, and Sadler’s Wells have become almost regular hosts of Japanese performers. And this performance of Yoshitsune Senbon Zakura (Yoshitsune and the Thousand Cherry Trees) was as exciting and as strangely wonderful as we have learned to expect.The play Read more ...
alexandra.coghlan
Usually a seasonal home for the pastel-coloured delights of drawing-room farce, musical comedy and the odd Shakespeare pastoral, Regent’s Park Open Air Theatre is this year offering a programme of rather darker hue. With Macbeth to follow later in the season (not to mention Stephen Sondheim’s deliciously off-white fairytale musical Into the Woods) it was with a new production of Arthur Miller’s The Crucible that things kicked off last night. The post-interval nightfall – so perfectly timed for the Act Two tribulations of a comedy – became the stifling moral blackness of a benighted Salem Read more ...
judith.flanders
Many people use that weaselly phrase about Antony Gormley, saying he “divides the critics”. For the most part this is not true: for the most part the critics loathe Gormley’s work. They suggest he is either a bad figurative sculptor masquerading as a conceptual artist, or a bad conceptual artist masquerading as a figurative sculptor. This is really just a whinge that he doesn’t fit in a box, but so what? Perhaps more useful is to think of him as the little girl with the little curl, because when he is good he is very, very good - the installation at Crosby Beach - and when he is bad he is Read more ...
Jasper Rees
This is a modest film – only 80 minutes long – with big things to say about the way celebrity warps the lives of all who come into contact with it: not only of the elect few whose faces adorn teenage walls, but also those lonely girls in their bedrooms who conjure up a sustaining fantasy that some of the fame will brush personally off on them.Two teenage girls, both blindly enamoured of a (fictional) Liverpool player called Lee Cassidy, meet at the gates of Anfield. Obsession is their bond. Nicole (Kerrie Hayes), blonde, tentative and from a broken home in a poor part of the city, has drawn a Read more ...
Ismene Brown
Ninette de Valois said the solution to a shortage of choreographic talent was this: “You wait.” Waiting through the Nineties and early Noughties proved the Royal Ballet founder’s point - suddenly new distinctive ballet talent is cropping up all over the place. Taking the pressure off Christopher Wheeldon and Wayne McGregor, young Liam Scarlett showed his confident colours this spring, and now, segueing on from his distinctive performing career at Covent Garden, here is Viacheslav Samodurov, the undoubted star of the Royal Ballet’s New Works programme in the Linbury Studio last night.This Read more ...
gerard.gilbert
Call me a grumpy old man if you like, but on an average week it can be hard to see the point of BBC Three - unless the point is for an overly expansionist state broadcaster to patronise the nation’s youth as a generation of weight- and Wag-obsessed delinquents with an unhealthy taste for autism and Asperger’s. But then on rare good weeks – or perhaps even years - along comes an original show like Little Britain, Being Human or Blood, Sweat and T-Shirts which suggest that maybe, just maybe, all that investment has been worthwhile. Pulse, the pilot for a potential new hospital horror series, Read more ...
Russ Coffey
If you thought Chamber Pop was dead, think again. The Divine Comedy are back with a new album, Rufus Wainwright is playing Meltdown, and The Leisure Society are gradually building up a cabinet of awards. The genre may sometimes come over as the musical equivalent of David Mitchell in Lawrence Llewellyn-Bowen’s clothes; but over-educated young men, it would seem, will not be easily be distracted from expressing their ironic observations. And Brighton’s The Miserable Rich do such observations as well as anyone.Perhaps best known for their affectionate portrait of a drunk, "Pisshead", The Read more ...
fisun.guner
Here’s a question: what have the eminent Victorian statesman and four-times prime minister William Gladstone and the Nazi Reichsführer Heinrich Himmler have in common? Well, if you didn’t catch last night’s Timewatch Special, you'd probably never guess. They were both obsessed with discovering that great, drowned civilisation of antique myth, Atlantis. Gladstone thought it was located somewhere on the South Atlantic, so he proposed a government sponsored expedition but was turned down by the treasury, and Himmler thought that the Ayrian master race was directly descended from Atlantians and Read more ...
Tom Birchenough
We’ll never feel the real impact - an all too apposite word - of the violence in Michael Winterbottom’s The Killer Inside Me, given that it has dominated pre-release publicity for the film. The suspense of waiting for it will surely distract viewers from any suspense that the director was trying to create naturally through the formal build-up of unease within the plot and environment he’s taken on from Jim Thompson’s noir novel.If that leaves Winterbottom somewhat hoisted by his own petard, the director more than makes up for it with his immaculate control of a movie dominated by the ( Read more ...
Adam Sweeting
Thus I approached What Makes a Great Tenor? in a spirit of moderate scepticism. Had appearing on Popstar to Operastar destroyed at a stroke the credibility of its presenter, the Mexican tenor Rolando Villazón? In a bid for the dreaded "accessibility", were they about to propose Paul Potts, the Carphone Warehouse Pavarotti, as the answer to the titular inquiry? Happily neither. In fact the programme struck an almost perfect balance between erudition, entertainment and a genuine fascination with the historical lore and legend of the opera house.As a presenter, Villazón radiates a hyperactive Read more ...