Reviews
alexandra.coghlan
If you go to ENO’s Acis and Galatea expecting a grassy knoll draped decoratively with a Watteau shepherdess or two then you may be disappointed. Launched in 2017, the company’s reliably punchy Studio Live strand (stripped-back, small-scale, off-site performances) continues here with Handel’s “little opera”, reinvented for the Instagram age. #Nymphsandshepherds #FlockthisBeanbags (candy-bright) are strewn across the turf (astro), bathed in the glow of the vending machines ranked across the back of the stage. “Work Hard, Play Harder” enjoins a balloon sign, while arrows point the way to “Groves Read more ...
aleks.sierz
Forget about dark alleys, deserted parks and slippery slopes: the most dangerous place in the world is likely to be your family. That’s where the traps are, the minefields and the surprise betrayals. As its title suggests, Torben Betts’s new comedy is all about failing marriages and imploding families. The focus is on a celebrity chef, but does Betts have anything new to say about the state of our emotional nation, or is this just another rehash of the same old ingredients? After a national tour, Monogamy comes to the Park Theatre – and boasts Janie Dee and Charlie Brooks in its cast.The Read more ...
Robert Beale
Juanjo Mena, chief conductor of Manchester's BBC Philharmonic for the past seven years, took his official leave of them with a programme reflecting his great love, the music of his Spanish homeland. Albéniz and Falla, to be precise, and the greater part was a complete concert performance of the latter’s opera La Vida Breve. A quality list of Spanish singers had been engaged – notable among them Nancy Fabiola Herrera, as Salud – along with the Spanish Radio and TV Chorus, Coro RTVE.So there was a festive feeling in the air from the outset: the concert was to be a celebration of a warm Read more ...
Sebastian Scotney
What a great show, on every level. David McVicar’s Glyndebourne production of Handel’s Giulio Cesare, originally staged in 2005, and in its third revival this year, has a cast without a weak link, and never fails to draw in the audience to the work’s cycles of power, suffering, death and intermittent triumph. It brings us deep into the mind and essence of every character. And holds us right there. Every time.The big change from the previous seasons is that the production has a new Cleopatra. The role was originally offered for 2005 to Rosemary Joshua but memorably taken in all three previous Read more ...
Rachel Halliburton
In an era marked by virtue-signalling, it's perhaps no surprise that Isabelle Huppert – a woman who has always gone against the grain – has opted for a little vice-signalling. Unlike other French screen icons, she is not part of the female cohort that railed against the #MeToo movement, yet she has defined herself through roles mired in moral ambiguity, not least as the video games executive who seeks revenge on her rapist in Elle (pictured below). To therefore pair Huppert with her infamously lubricious countryman, the Marquis de Sade, seems like a marriage happily forged in the Read more ...
Boyd Tonkin
Stumble across Grange Park Opera’s new brick-clad “Theatre in the Woods”, nestled amid a labyrinth of gardens and orchards next to the rambling Tudor pile of West Horsley Place in Surrey, and on a mild June evening you may feel as if you have fallen into some Home Counties version of a magic-realist novel. The downside of all this bucolic charm is that the drama delivered inside the traditional, four-decker, horseshoe-shaped auditorium – funded and built from scratch by Grange Park’s founder Wasfi Kani after Bamber Gascoigne inherited the West Horsley estate – should always match the Read more ...
Jasper Rees
You need to be of a certain age to recall the sheer ubiquity of Studio 54. For a few years in the late 1970s, even the sterner British newspapers were routinely stuffed with stories of who was there and what went on within the hallowed citadel (if not who went down, and on whom). As for the New York prints, publicists were on a bonus scheme incentivising them to get the hottest discotheque onto front pages.As explained in a new documentary, for a couple of years after the US pulled out of Vietnam Studio 54 was a watering hole which attracted not wildebeest, zebras and antelopes but exotic Read more ...
Adam Sweeting
Nordic shmordic. Why travel to Scandinavia to get your dark, disturbing mysteries when you can find them in Wales? You even get subtitles for an extra frisson of otherness.Hidden (or Craith in Welsh) stems from the same BBC Cymru Wales/S4C provenance as Hinterland, with whom it also shares the executive-producing fingerprints of Mark Andrew and Ed Talfan. Likewise, it echoes the eeriness and sense of isolation of its predecessor, exploiting spectacular but melancholy Snowdonia scenery to evoke a steady undertone of dread and horrors hidden in the undergrowth.There had to be a corpse to kick Read more ...
Sebastian Scotney
“There’s a rhythm in the air around Memphis, there always has been,” Carl Perkins once said. "I don't know what it is, but it's magic." The city on the Mississippi lives up to its musical heritage with performance venues aplenty, and a host of museums dealing with its illustrious musical past: there's Elvis Presley's Graceland mansion with all its garish gold lamé costumes, cars and even private jets; Sun Studios is now a museum; and there is a Stax Museum, a Blues Museum and the much-praised Memphis Rock 'n' Soul Museum.Memphis-born music journalist, filmmaker and author Robert Gordon has Read more ...
Kieron Tyler
“Past My Door” weaves together a series of leitmotifs. Beginning as a downbeat, mid-tempo shuffle, it then shifts into a staccato passage after which the tempo picks up before a more pacey section. Next, the character established at the song’s introduction returns. Over four-minutes 20 seconds, the different approaches are supported by oblique lyrics which include the memorable phrase “too late, cries the melting snowman". At its core, the melancholy “Past My Door” seems to be about missing chances and being left behind.This remarkable portmanteau composition is one of the many highlights of Read more ...
Lisa-Marie Ferla
The line that best summed up the European opening night of Taylor Swift’s latest tour had nothing to do with snakes, or tattered reputations, or tabloid melodrama. It came, in fact, from opening act Charli XCX, who chose the intro to cotton-candy sound-of-last-summer “Boys” to shout out the “three incredible, badass women” who’d take turns sharing the stage tonight.Anointing Taylor Swift as any kind of feminist figurehead rarely ends well, but I’ll say this: when one of the world’s biggest pop stars stops the show two songs in to introduce by name every female dancer and singer sharing the Read more ...
Matt Wolf
It seems appropriate that an onstage blender features amidst Tom Scutt's sleek, streamlined set for Julie given how many times Strindberg's 1888 play has been put through the artistic magimix. Rarely, however, have the results been less illuminating than in this National Theatre rewrite by Polly Stenham that replaces Strindberg's charged three-hander with a lazy recap of themes and situations Stenham has explored to far more rending effect elsewhere. Running shy of 90 minutes, Carrie Cracknell's production nonetheless feels as if it is struggling to fill time, due in no small measure to Read more ...