Reviews
Veronica Lee
Anuvab Pal may be a new name to some UK audiences (although many will know him from the global satirical podcast The Bugle), but he is well known in his native India. And it is with a wry look at Indian history – and the British role within it – that he begins his show Democracy and Disco Dancing, a version of which he previously brought to the Edinburgh Fringe in 2019.Pal introduces himself, saying he looks like “I work for HSBC in risk management” but in reality he's has some thought-provoking and funny gags about the India-Great Britain relationship. He takes us through Partition (“the Read more ...
Lizzie Hibbert
Historical fiction – perhaps all fiction – presents its authors with the problem of how to convey contextual information that is external to the plot but necessary to the reader’s understanding of it.Some authors supply an omniscient third-person narrator to plug possible gaps in historical knowledge, as in Virginia Woolf’s Orlando (1928), where Orlando sends a letter to “Mr Nicholas Greene of Clifford’s Inn” and helpful parentheses explain that “(Nick Greene was a very famous writer at that time).” Others have first-person narrators do the same job as they reflect retrospectively upon their Read more ...
graham.rickson
It’s easy to forget that what you see in a competition final isn’t always the full story, the jury members’ votes in this case based on what had gone on in the earlier rounds. The 20th Leeds International Piano Competition began its final stages in the city two weeks ago, the 63 competitors in the first round filmed earlier this year in 17 separate locations across the globe, the films streamed via Vimeo to the UK. 27 pianists were selected to come to Leeds, and it’s interesting to learn that this process, unimaginable a decade ago, was reportedly less stressful to all concerned and resulted Read more ...
Thomas H. Green
As the summer folds away on itself, theartsdesk on Vinyl returns. Beset by backlogs at pressing plants and delayed by COVID, it's finally here, jammed to the gunwales with commentary on a grand cross section of the finest music on plastic. Dive in!VINYL OF THE MONTHGod Damn Raw Coward (One Little Independent)Let’s start with some NOISE! With their fourth album Wolverhampton band God Damn continue the reinvigoration that began with their eponymous 2020 Album. There’s metal in there somewhere but mostly it’s a roaring rage of punk rock, with singer Thomas Edwards howling his indignancy at, well Read more ...
Kieron Tyler
“Reaffirmation” is the sound of a San Francisco ballroom in 1968. The 12-minute long track opens mysteriously with what might be a Mellotron on the flute setting. A bubbling bass guitar arrives, along with jazzy piano. At 02.50, the tempo picks up and the guitar, which until then has delicately picked its way through the arrangement, begins to soar. There’s a vaguely funky section and, just over half-way in, a dive into an almost free-form spiralling section. This is top-notch psychedelia. Dungen have passed through similar territory.Other parallels include the first-album Steve Miller Band Read more ...
Sarah Kent
Mark Cousins, the multi-award winning director of this strange film, is lying in bed watching Ray Charles speaking on the Dick Cavett Show in 1972. The singer went blind in childhood; how would he respond if offered the chance to see again? “I might turn it down,” says Charles. “I’m not all that hung up about seeing things … and with some of the news I hear about today, I mean there are some things I absolutely don’t wanna see, man !”“For somebody like me who has always loved looking,” remarks Cousins, “what he says is unbelievable… Looking has been my joy, my world.” He is trying to decide Read more ...
Markie Robson-Scott
Rose (Ann Skelly; The Nevers) is adopted. The name on her birth certificate is Julie and the possibility of a different identity – different clothes, different hair, different accent - beckons. If she could embrace this second life, she thinks, she could be the person she was meant to be. “I’d be the real me.”In their third feature, directors Christine Molloy and Joe Lawlor, both originally from Dublin, continue the themes of identity, role-playing and moments of transformation that they explored in the unsettling, meditative Helen (2008) and Mister John (2013). Rose Plays Julie is also an Read more ...
alexandra.coghlan
Rarely has the revolving door of opera twirled so efficiently. David McVicar’s venerable production of Rigoletto may have exited the Royal Opera on Monday (presumably with one final squeak of protest from that pesky revolve), replaced by a shiny new incumbent, but by Wednesday the director was back on the stage with another of his long-lived classics: The Magic Flute.We may be approaching the show’s 20th anniversary, but visually it’s still serving up the goods. After a year of digital screens and chamber restrictions, black-box sets and two-handers, John Macfarlane’s lavish designs and the Read more ...
Jenny Gilbert
If I had to sum up in a single impression the work I’ve seen of Brighton-based, Israeli-born choreographer Hofesh Shechter (now OBE), it would be that of a rock gig. His shows are noisy, populous affairs, and he writes his own drumbeat-driven music. There is invariably dry ice, harsh stadium-style lighting, and looping crescendos so long and so loud that your vertebrae start to thrum. Double Murder, however, is not like that. It’s a bit of a puzzle, not least because its title suggests a two-part onslaught that doesn’t transpire.“There’s always an assassination at some point” asserts someone Read more ...
Adam Sweeting
Despite an alluring cast which includes Melissa McCarthy, Chris O’Dowd and Kevin Kline, The Starling is doomed to be remembered, if at all, as a slender idea unsatisfyingly executed. Directed by Theodore Melfi from a screenplay by Matt Harris, it’s the story of Lily (McCarthy) and Jack (O’Dowd), a couple whose domestic dream was blown apart by the death of their baby daughter Katie.The past is filled in as the narrative ambles along, from scenes of the pair eagerly imagining what career their new baby might take up (podiatrist? Vegetarian butcher?) to the gradual realisation that all bets are Read more ...
Florence Hallett
When you stand in front of Helen Frankenthaler’s Freefall, 1993, in your mind you drop into its gorgeous, blue abyss. It is enveloping, vertiginous, endless and yet there’s none of the terror of falling into a void, only intense, velvety comfort as the bluest blue melts into emerald green.Its large scale, and gestural splashes of colour are supremely painterly, and yet this is not a painting but a print, its free flowing, spontaneous-looking marks the result of multiple, effortful iterations recorded in proof after painstaking proof (main picture: Freefall, 1993).Helen Frankenthaler was one Read more ...
aleks.sierz
God is a tricky one. Or should that be One? And definitely not a He. So when she says take revenge, then vengeance is definitely not only hers, but ours too. American playwright Aleshea Harris’s dazzlingly satirical 2018 extravaganza is about two women seeking justice and getting even, and it comes to the Royal Court from New York, trailing shouts of enthusiasm and the Obie Award for Playwriting. Unlike many plays about African-Americans this one is refreshingly free from cliché, and this new production does it complete justice.The set up is gloriously surreal. Two 21-year-old twins, Racine Read more ...