Reviews
Gavin Dixon
Charles Dutoit gets the best from the Royal Philharmonic. He conducts with broad, sweeping gestures, and the orchestra responds with dramatic immediacy and vivid colours. This concert’s programme was well chosen to play to their shared strengths, and the results were impressive: colourful Respighi, muscular Dvořák and taut, compelling Stravinsky.Respighi’s Fountains of Rome opens and closes with evocations of dawn and dusk. Dutoit has little interest in miniature, fragile textures, and never ventures into the quietest dynamics. But he and the orchestra compensate with luminous colours and Read more ...
aleks.sierz
Poor Alice. She’s alone all day, with a six-month baby boy, while her husband Ben – a doctor – is out at work. Working all hours. She sleeps at odd times of the day, and at first seems to have just suffered some kind of catastrophic loss. Ben seems to be working too much, so the couple never see each other. I say “seems” because it is very soon apparent that things are really not what they seem in Québecoise actress and playwright Catherine-Anne Toupin’s brilliant 2008 play about one woman’s sense of self, and her conflicting emotions about motherhood. Oh, poor Alice.After a brief Read more ...
Marina Vaizey
Here be two modestly scaled masterpieces from the 1760s by George Stubbs, highlights of a centuries-old tradition of painting the horses owned by the Dukes of Newcastle and their lateral descendants the Dukes of Portland (the Devonshires are also connected in a grand web of aristocratic marriages). Stubbs was commissioned by the third Duke of Portland (1738-1809), William Cavendish-Bentinck, indisputably one of the grandest in the land: a politician and a multi-billionaire in today’s terms. He was a man of huge personal responsibilities and a patron of the arts: Humphrey Repton designed the Read more ...
Adam Sweeting
If you were expecting Rowan Atkinson to say "bibble" or make those Mr Bean gurgling noises, you came to the wrong classic detective drama. To play George Simenon's timeless French detective in a story subtitled "Maigret Sets a Trap", a melancholy, interiorised Atkinson spent most of his time sitting and thinking. Despite the mumsy ministrations of Mme Maigret (alias Lucy Cohu), he relied mostly on his pipe for company as he struggled to unmask a serial killer of women in Montmartre.It was a determined effort by the star to set aside all his familiar comic tricks and tics, and this was a Read more ...
Adam Sweeting
So at a stroke, The Night Manager has proved that appointment-to-view television is not yet dead in the age of Netflix, and that the BBC can do itself a favour in battling against the best American dramas if it can find a US production partner (AMC in this case). Perhaps its most vital lesson was that if you want to put bums on seats, pay whatever it takes to get Tom Hiddleston's up on the screen.High fives for director Susanne Bier, who ensured that this sixth and final episode comfortably sustained the tension so successfully spun across the preceding five, and powered thrillingly to a Read more ...
Kieron Tyler
According to the May 1979 issue of the New York art-paper East Village Eye, James White “is treated [everywhere] with awe and the special consideration lacking in most people's lives.” The adoration was boundless. White is “the star, the proof of the divinity that can be had by those who strive for a life beyond the schemes of men, James White is not an animal creature, James White is one of the breed called God in older times.”For those who hadn’t realised White was a deity, his more commonly known alter-ego James Chance remained a mere cornerstone of the New York-spawned no wave scene Read more ...
Matthew Wright
Blue Eyes, the latest imported Swedish drama, has a lot of hype to live up to. After Borgen, Wallander, The Killing and the rest, Scandi noir is scarcely a novelty in itself. Yet Blue Eyes brings the ultra-topical subject of the far right and the immigration debate to the more familiar territory of murders in sun-starved pinescapes. More dramatic still, it depicts the rise of an anti-immigration political party in the country that has been, until recently at least, Europe’s beacon of tolerance and openness. As such, it should be both a sharply contemporary political drama and a moody Read more ...
David Kettle
"Thomas Aikenhead – who the fuck are you?" So goes the refrain to the opening number of I Am Thomas, a boisterous co-production between London’s Told by an Idiot, and the National Theatre of Scotland and Edinburgh’s Lyceum Theatre north of the border. It’s a good question, one that acknowledges few in the audience will be familiar with the show’s central figure. And also one that raises the issue of why we should even care about some guy we’ve never heard of.So who is the Thomas of the show’s title? He’s the last person to be executed for blasphemy in Britain, in Edinburgh in Read more ...
Tom Birchenough
The Chilean director Pablo Larrain completed his loose trilogy about his country confronting the legacy of its Pinochet years four years ago with No. Striking a distinctly upbeat note after the two films that had preceded it, Tony Romero and Post Mortem, its title came from the unexpected referendum result that deprived the dictator of an anticipated extension of his mandate, and was seen through the story of the advertising men behind that epoch-changing vote.But new times do not bring new morals. His new film The Club (El Club), which took the Grand Jury Prize at last year’s Berlinale, may Read more ...
graham.rickson
Vincenzo Galilei: The Well-tempered Lute Žak Osmo (lute) (Hyperion)Bach's Well-tempered Clavier wasn't the first major musical work designed to demonstrate the advantages of an equitable, scientific approach to intonation. Vincenzo Galilei's Libro d'intavolature di liuto was published in 1584, a hefty collection of pieces composed for lute, some of which demonstrate the instrument's capability to transpose pieces to any pitch of the well-tempered scale. Galilei was a polymath who approached the study of music with scientific zeal, and his best-known son was the astronomer Galileo. The Read more ...
Adam Sweeting
Two years after its brilliant second series, which put Keeley Hawes's DI Lindsay Denton through the wringer with harrowing intensity, Jed Mercurio's bent-coppers drama is back. This time it's Daniel Mays, as Sgt Danny Waldron, sitting in the crosshairs of Ted Hastings and his AC12 anti-corruption team.This was only episode one, but already it had you gasping for breath while you waited for your head to stop spinning. One thing we already know – this isn't going to be a whodunnit, because we saw Waldron's transgressions in full-scale, unambiguous close-up. The opening sequence followed Waldron Read more ...
Andrew Cartmel
Although this evening began with an introduction by film director Ben Wheatley (responsible for Clint Mansell’s latest soundtrack commission, High-Rise), Mansell’s most frequent collaborator has been Darren Aronofsky. Among the movies they’ve fashioned together is 2014’s Noah, the music from which provided tonight’s opening salvo.Giant, menacing chords lumbered across a sparse soundscape with a pulsing clash of cymbals from Eric Gardner on drums. Ululating, haunting electronic keyboards were played by Clint Mansell himself. The sound clotted into a dense, menacing texture with sustained Read more ...