Reviews
Rachel Halliburton
At a point in history where – yet again – a few misplaced words from English politicians could wreak havoc with Irish lives, this is a welcome revival of Ian Rickson’s stunning production which first played here to rapturous reviews last year. Brian Friel’s 1980 play reveals itself once more as a simultaneously raw and poignant tragicomedy, which deftly demonstrates how any abuse of the complex relationship between language and identity can all too easily lead to bloodshed.The audience enters the Olivier to witness a landscape on which the low-lying clouds and reddish sky create a sense that Read more ...
David Nice
We have John Eliot Gardiner to thank for an unconventional diptych of Czech masterpieces in the London Symphony Orchestra's current season. He had to withdraw from last night's concert - he conducts Dvořák's Cello Concerto and Suk's "Asrael" Symphony on Thursday - but his replacement, Kazushi Ono, was no second-best. Familiar to us in the UK mostly as an opera conductor, firm and clear-headed in the three vivid narratives of the evening, he provided the ideal security for orchestral playing and stunning singing to fly.The programme proved, as always, that there's no slack in Janáček's mature Read more ...
Sarah Kent
Focusing on twelve women who played a key role in the lives of Pre-Raphaelite painters like Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt, this timely exhibition begins with a whimper and ends with a bang. First up at the National Portrait Gallery is Effie Gray whose marriage to art critic, John Ruskin was annulled after six years for non-consummation. The story goes that, having only seen classical Greek sculptures, he was horrified by her pubic hair!Gray then married Millais and assumed the traditional role of supportive wife. This involved keeping house, bearing and Read more ...
Sebastian Scotney
"Revelatory": it’s one of those words which is now completely devalued through having been carelessly dropped into a thousand press releases. And yet it perfectly describes the results Miklós Perényi achieved in a pair of superb concerts of Beethoven’s works for cello and piano at Wigmore Hall, which were also live-streamed.The Hungarian cellist has an unshakable sense of mission. He stays as literal and as close as he can to Beethoven’s musical intentions, and the trust which he places in the works always seems to find a perfect justification. Now aged 71, Perényi has lived with these Read more ...
mark.kidel
Tom Morris’s production of Cyrano starts with a procession of nuns, some of them bearded, chanting verses from the medieval mystic Hildegarde of Bingen. In this original and lively version of Edmond Rostand’s late 19th century classic, Morris has played fast and loose with the original text, translated here and brought up to date by the poet and theatre maker Peter Oswald.In the original story, Roxanne, Cyrano’s great and unreachable love, is found in a nunnery, reflecting on the tragedy of her life. Morris and Oswald have skilfully opened and closed the narrative in the convent, so that the Read more ...
Jonathan Geddes
Familiarity evidently does not breed contempt, at least in the case of Hot Chip and Glasgow. This was the band’s third appearance on Glaswegian soil since April, and what a glorious, life-affirming evening it was. They arrived with a fine new album to promote in the shape of “A Bath Full of Ecstasy”, and both new and old songs alike were imbued with fresh energy here, aided by a crowd evidently buzzing on Saturday night adrenaline (and in some cases, quite possibly certain other substances).The band themselves were hardly reticent either. They still look a mild mannered bunch, albeit ones Read more ...
Marina Vaizey
That John le Carré! It turns out the agent isn’t so much running in the field as playing badminton. The master of the spy novel, of the foibles fantasies and sadnesses of our imperfect world – with the occasional excursion to excoriate Big Pharma and the like – has produced a magnificent slow burner. The short novel is predicated on Britain’s current mess, in which the country is betrayed by its own nostalgia and incipient xenophobia.Now in his 88th year this is Le Carré’s 25th novel. His last, A Legacy of Spies, was elegiac: a trip down memory lane to sort out an incident from the distant Read more ...
Adam Sweeting
And welcome back to our favourite French cop show – perhaps our favourite cop show from anywhere, in fact – which has raced into its seventh series (on BBC Four) with some typically grimy storylines about death and lowlife in a very de-romanticised Paris. If you catch a glimpse of landmarks like the Eiffel Tower, it’s only in the far distance across drab expanses of rain-soaked rooftops. The action in Spiral is frequently shot with pavement-level actualité, as if it’s been hastily assembled from home-made documentary footage found in a discarded fast-food container.Last week’s opening episode Read more ...
Kieron Tyler
Arthur or the Decline and Fall of the British Empire hasn’t had the stratospheric levels of praise as the preceding Kinks album, 1968’s The Kinks Are the Village Green Preservation Society. Yet in the band’s narrative, it’s probably more important as it went hand-in-hand with their return to America after an enforced absence and became integral to their subsequent achievements there. Furthermore, as its title attests, Arthur also had wider themes than Village Green: it was avowedly ambitious.In his November 1969 Rolling Stone review, Greil Marcus brought contemporary context. “Less ambitious Read more ...
India Lewis
A Month in Siena is a sweet, short mediation on art, grief, and life. Ostensibly describing the time and space of its title, Matar touches on vanishings and lacunae in his past. Early on, he links the disappearance of his father in Cairo in 1990 to his interest in art: “He was imprisoned and gradually, like salt dissolving in water, was made to vanish. It was shortly after this that, for reasons that still remain unclear to me now, I began to visit the National Gallery in London.” Art and Siena itself gave himself space in which to exist beyond his own troubles.Matar describes how the Read more ...
David Nice
Advance publicity overstated the case for The Mask of Orpheus. "Iconic"? Only to academics and acolytes, for British audiences haven't had a chance to see a production since ENO's world premiere run in 1986. "Masterpiece"? Sitting there after the second interval 33 years ago, surrounded by empty seats long vacated (by fellow critics, shame on them, among others), and facing a third act with a sense of fatigue, I hardly thought so then. And though I can hear the virtues more clearly now, the dead directorial hand of Daniel Kramer has turned an already complex, sometimes obscure layering of Read more ...
Joseph Walsh
Angelina Jolie is back again with those cut-glass cheekbones and ink-black wings, reprising her role as the self-proclaimed ‘Mistress of Evil’, in Joachim Rønning’s nauseating sequel to the 2014 live-action spin on Sleeping Beauty. As the first film taught us, Maleficent isn’t evil, she’s misunderstood. Rat-bag men sold her out, and ever since she’s been on warry of humans, except for her god-child Aurora. The legend we knew was just propaganda. All Maleficent wants is to protect her fellow fairies from the war-mongering ways of men. This time around, it’s not a man that’s the Read more ...