Reviews
Peter Quantrill
Salzburg, Verbier and other high-end festivals have scraped together reduced, still impressive programmes over the summer for consumption online. Not so starrily cast but hardly less engaging in situ is the adapted offering from Istanbul, mixing local and international artists, chamber and orchestral concerts with a flair that belies its reputation on the fringe of the major music festivals. In a series of pre-recorded concerts, streamed daily and mostly made available for a month thereafter (until mid-October), the organisers have taken the opportunity to range even further than their usual Read more ...
Jessica Duchen
Like many musicians, Danny Driver had not given a recital since the pandemic took hold in March. His return to the platform took place in the intense spotlight of the Wigmore Hall, broadcast live in BBC Radio 3’s Lunchtime Concert and webcast to the world - for which he chose a programme that was demanding, exposed and imaginative and rose to its ferocious challenges as if butter wouldn’t melt. Driver’s selection focused on the idea of études, which the best composers can make into far more than technical exercises. First, an unusual choice: a sonata by C P E Bach, the ground-breaking Read more ...
Owen Richards
Barring a few outliers, British indies tend to follow the same formula: serious subjects told seriously. Whether it’s a council estate, a rural farm, or a seaside town, you can always rely on that trademark tension and realism we Brits do so well. What a shock to the system Eternal Beauty is then, filled with more imagination than almost anything else out this year.Sally Hawkins stars as Jane, a woman struggling to keep a grasp of her mental health. Her issues are compounded by her sociopathic mother (Penelope Wilton), narcissistic sister (Billie Piper), and a fiancée that dumped her at the Read more ...
Matt Wolf
"Getting dark," or so comments Irene Ruddock (a pitch-perfect Imelda Staunton) in passing midway through A Lady of Letters, and, boy, ain't that the truth? Both this monologue, and the one that precedes it (Playing Sandwiches, featuring the mighty Lucian Msamati), find Alan Bennett in fearlessly penetrating, ever-darkening mode. The Bridge Theatre's invaluable series of Talking Heads double bills enters its final phase of openings this week (the closing pair with Tamsin Greig and Maxine Peake has its press night this evening), and no praise is too high for the astonishing array of actors Read more ...
David Nice
There should eventually be a plaque on the outside of the Fidelio Orchestra Café in Farringdon, to the effect that London’s musical life after lockdown re-ignited here. And how, in early July, with Steven Isserlis exuberantly stepping up to play Bach before a rapt small audience. Even now that so many venues have started cautiously opening up, it was still a physical and emotional jolt of the best kind to hear another of the greatest string sounds in the world, that of violinist Viktoria Mullova, and the double-bass thrumming in the resonant woody space of her son Misha Mullov-Abbado at the Read more ...
Joseph Walsh
Aaron Sorkin’s latest powerhouse drama couldn’t come at a more opportune moment. Rife with the director’s rapid-fire dialogue, this courtroom drama is set in the wake of the 1968 Democratic National Convention in Chicago and bubbles (sometimes froths) with a raw energy, tackling the thorny subjects of justice, racial equality and war. The setting might be period but, as recent news stories show, the fight for democracy is as fierce as ever, and Sorkin uses his entire arsenal of staunchly liberal ideology, theatrical dialogue and hard-hitting monologues to deliver his message. Cutting Read more ...
Lydia Bunt
What do you do when your phone rings, but you know the person ringing isn’t alive? In many ways, the cleverly named Reality, and Other Stories is a collection of ghost tales. But they are updated for the present day. John Lanchester meets his reader at the point at which the spectral intersects with the digital, all the while dissecting the seemingly simple notion of reality and its contents. The fusion makes for a compelling series of tales.Lanchester’s protagonists are often erudite, logical and attractive. They went to Oxbridge; they are professors, QCs, solicitors; one is an “actress Read more ...
David Nice
How do they do it? Bach and Angela Hewitt, I mean, transfixing and focusing the audience in the Wigmore Hall – at home, too, hopefully, thanks to the livestreaming– through 13 and three-quarter fugues and four canons, all starting in the same key and (until the last) on the same theme, plus a benediction, the glorious whole amounting to an hour and a half without a break. No-one knows quite how the master intended his final studies in counterpoint to be performed, or even on what instrument(s), but in this superlative pianist’s hands the sequence makes total sense – centred, radical-sounding Read more ...
Liz Thomson
“Build the wall!” exhorted Trump, at rally after rally back in the days when we’d all acknowledged his moral repugnancy but still believed he could never attain the presidency. And Trump has indeed built a wall, one that divides Republicans from Democrats in ways unimaginable even during the psychodrama of the Nixon years; a wall that has divided America in ways that will take a generation or more to heal – as Boris Johnson and his Brexit project has done in Britain.Even though no one I knew personally ever wanted Brexit, I always felt that if ever there was a referendum we would be out, and Read more ...
Olivia Fletcher
Death in Her Hands was a forgotten manuscript, the product of a series of daily automatic writing exercises performed by Ottessa Moshfegh in 2015 and then set aside to marinade in a desk drawer while the world fell apart. Moshfegh’s characters “zoom” and gallop, they feel “glued down” and lost: a neat array of overactive but introverted low-lives, possessed by a miscellany of sordid desires. Moshfegh’s attraction to creating obsessive personalities breeds a type of paranoia in her readers, who may very well remain unsure about whether her narrators speak in earnest or in jest. Death in Her Read more ...
Boyd Tonkin
The former slave, and coachman on a sugar plantation, began one of his early public proclamations in a typically defiant vein: “I am Toussaint Louverture, you have perhaps heard my name.” At that point, in 1793, almost everyone in the French Caribbean colony of Saint-Domingue did know about the inspiring but elusive rebel chieftain. Often in the shadows, he had led a slave uprising across Saint-Domingue (the western part of the island of Hispaniola) with a strategic brilliance and tactical flair that set it apart from the brutally crushed insurgencies of past decades. Within a few years Read more ...
Daniel Lewis
Ian Williams’s writing is always in motion. For his 2012 poetry collection Personals, and since, he has composed little circular poems, similar (in style though not sentiment) to the posies you sometimes find inscribed on the inside of rings. He incorporates a couple into Reproduction, his debut and Griffin Prize-winning novel. “I’m sorry I made you hate me”, “no I don’t hate you baby don’t hurt me”, they read. Supposedly thought up by a teenager in the throes of childbirth, they speak to the seeming endlessness of labour pains as well as the forging of new bonds that are as hard to split as Read more ...