Reviews
Boyd Tonkin
Supernatural and Gothic stories have always haunted the misty borderlands between high and popular culture. The finest manage to hover between page-turning genre tales and what counts as respectable or “literary” fiction. This place in a perpetual limbo can offer the authors of yarns about borderline beings and in-between states an exhilarating kind of freedom. Their readers will know and recognise the usual weird or uncanny signposts, but writers can then point them towards almost any destination, thematic or emotional, that they desire. In Britain, the most recent wave of neo-Gothic Read more ...
alexandra.coghlan
You can see the temptation. With three different versions and four different overtures to choose from, as well as all that spoken dialogue to cut, substitute or omit, Beethoven’s Fidelio has always been a Choose Your Own Adventure sort of opera – a work, like Hamlet, that we shape and reshape in our own image. With so much agency available, so many fissures and footholds in this troubled piece, perhaps it was inevitable that someone would go all the way, jettison the score entirely and start from scratch.This is exactly what Pulitzer Prize-winning composer David Lang has done. His prisoner of Read more ...
Kieron Tyler
In July 1961, the first issue of the Liverpool music paper Mersey Beat put three items on its front page. One was a surreal article by John Lennon titled Being a Short Diversion on the Dubious Origins of The Beatles. Another was a photo of Gene Vincent “at the Rialto Ballroom earlier this year, [signing] autographs for two young Liverpool beauties, Mary Larkin and Terry Shorrock.” The third was a piece on “Swinging Cilla,” “a Liverpool girl who is starting on the road to fame.” She has, readers were told, sung with The Big Three and the Hurricanes.Exactly two years after she became front page Read more ...
Charlie Stone
Nathalie Léger’s superbly original Exposition is a biographical novel meditating on the nature of biography itself. Its plot – if indeed its 150 pages of intense reflection bordering continuously on stream of consciousness can be called a plot – is an account of the life of Virginia Oldoïni, better known as the Countess of Castiglione. Specifically, the narrator (a half-fictional version of Léger herself) is fascinated by the visits Castiglione made to be photographed in the same Paris studio over four decades – turbulent years which saw her reach the height of power and influence and Read more ...
Markie Robson-Scott
An idyllic Scottish classroom full of happy children making sponge paintings of flowers with two enthusiastic young teachers – clearly, doom is in the air. Here comes that sense of dread again a little later at a ceilidh in a village hall, with everyone trying a little too hard to look happy. And it’s soon confirmed in a flash-forward to a pathologist wiping down an autopsy table.The first of the four episodes of C4's Deadwater Fell, written and created by Daisy Coulam (Humans, Grantchester) and directed by Lynsey Miller, is gripping and disturbing, with a strong cast, though some of the Read more ...
Boyd Tonkin
Alina Ibragimova’s solo journey (in 2015) through the peaks and abysses of Bach’s Sonatas and Partitas gave me vivid Proms memories to treasure for a lifetime. The Russian-born violinist’s Bach abounds in both majesty and tenderness, as well as a consuming fire of intensity when the music so demands. She brought something of the same quality to her performance last night of Mendelssohn’s E minor concerto at the Barbican. Nathalie Stutzmann conducted the London Symphony Orchestra in a menu of well-seasoned 19th-century favourites that began with generous chunks of Wagner’s Tannhäuser and Read more ...
Saskia Baron
The Safdie brothers, Josh and Benny, once programmed a season of films entitled Emotional Sloppy Manic Cinema, and if sloppy is subtracted from that description, it’s a pretty accurate summation of their work here in Uncut Gems. This is edge-of-the-seat filmmaking, with vertiginous camerawork by Darius Khondji and a relentless, immersive soundscape of electronica and layered dialogue.Adam Sandler, transformed with false teeth and a dazzling selection of designer shirts and shades, plays Howard Ratner. He’s a compulsive gambler and jewellery dealer who sells diamond encrusted Furbies and dodgy Read more ...
Jenny Gilbert
It’s unlikely that Lord Byron would recognise much about Le Corsaire. Beyond the characters’ names and the Ottoman location, there is little trace of the 1814 bestselling verse-novel on whose fame the ballet hitched a ride. Its plot is very silly indeed – a tale of abducted slave girls and piratical derring-do with added 19th-century ballet tropes of poisoned flowers and opium-induced dreams, not to mention a shipwreck in the final three minutes. It’s the kind of hokum it normally takes a big Russian company to bring off, but in this revival of Anna-Marie Holmes’s 2013 production English Read more ...
David Nice
Assuming the world holds together that long, there will be something we can rely on annually all the way to 2041, the 250th anniversary of Mozart's death: among the celebrations each year, a Wigmore Hall concert like this one, placing Amadeus among the other composers of his time, great and small(er). For very occasion we'll trust the brilliant Ian Page to assemble a crack team of players and to introduce us to new voices of outstanding quality.Last night it was the turn of soprano Samantha Clarke, not long graduated from the Guildhall School, taking its 2019 gold medal, and flagged up here Read more ...
Joseph Walsh
It’s 1968, and Seberg leaves her husband, Romain Gary (Yvan Attal) and son, Alexandre (Gabriel Sky) for an audition in Hollywood. She seems happy to be going. Touching down in LAX she joins a group of black activists, led by Hakim Jamal (Anthony Mackie), and offers up a black power salute. Her intentions are unclear. Is this an act of solidarity in the fight for racial equality or a publicity stunt? It’s hard to tell, but it’s caught the attention of the FBI, and there are far reaching consequences.Rachel Morrison’s crisp, elegant camera work and Jahmin Assa’s lavish production design, add an Read more ...
Veronica Lee
Mischief Theatre's “Goes Wrong” oeuvre is now well established: broad humour combined with physical comedy and slapstick mishaps. Magic Goes Wrong, though, is the company's first outside collaboration – with American magicians Penn & Teller, themselves purveyors of fine spoof comedy of the ta-da! kind.The set-up here is that we are at a fundraiser for Disasters in Magic charity, prompted by our host, Sophisticato (Henry Shields, main picture) recently losing his magician dad in a freak accident involving an attic stuffed with his props. As you might expect, the evening is on a steady Read more ...
Demetrios Matheou
The greatest war films are those which capture the terrifying physical and psychological ordeal that soldiers face, along with the sheer folly and waste of it all – Paths of Glory, Come and See, Apocalypse Now, Saving Private Ryan, most recently Dunkirk. Sam Mendes’ 1917, which has just won two Golden Globes and could well triumph at the Oscars, joins their ranks.Inspired by the stories of his late grandfather, who fought in the First World War, Mendes has forged a film that combines the contrivance of a race-against-time thriller with the verisimilitude of documentary, astonishing Read more ...