London
Laura de Lisle
Like an asp eating its own tail, the National Theatre's 2018 production of Antony and Cleopatra, streaming on YouTube until 14 May, begins as it will end. Director Simon Godwin's first tableau is the play's finale: Cleopatra (Sophie Okonedo) lies in queenly repose, a snakebite on her neck; her servants, Charmian (Gloria Obianyo) and Iras (Georgia Landers), slump around her. How did this triple suicide come to pass, ask thwarted Caesar (Tunji Kasim) and Agrippa (Katy Stephens), before answering their own question: behold, and see.It's a neat trick for Godwin, a National semi-regular since 2013 Read more ...
Matt Wolf
Has anyone else noticed how fulltime this streaming thing has become? Those who were of a mind to (and who never slept) could find enough cultural output to satisfy 24/7, especially if one adds to the free offerings that crop up by the week the ongoing back catalogue made available on sites such as Marquee TV or Digital Theatre, and the like. While those platforms continue to roam freely across productions and even art forms, each week brings with it a fresh supply of intriguing fare. This week's lineup includes curiosities from the very different minds of Andrew Lloyd Webber and David Read more ...
Nick Hasted
Dinosaur’s Mercury-nominated debut was a jolt of 1970s Miles and James Brown electricity. This third album steps back into the familiar comforts of acoustic jazz, with a cool inquisitiveness combining trumpeter-leader Laura Jurd’s rural Hampshire roots, conservatoire-schooled compositional rigour, and a sometimes New Orleans rasp that reaches right back to Louis Armstrong.“Slow Loris” is Sisyphean blues, climbing ever upwards as Elliot Galvin’s piano sprawls cat-like across pulsing bass, ending in shadowy 1920s clubland, then Crescent City funeral brass. The title track’s ice-pick piano Read more ...
Markie Robson-Scott
DI John Major (Daniel Mays) has been dead a year, shot in the line of duty, though we’re far from that series in terms of tone. Now he’s back at the London Met, artificially augmented, but not very intelligently. If anything he’s a bit more shit than he was before, as one of those involved in the shooting observes.“Think of me as Oscar Pistorius,” he encourages his wife Kelly (Anna Maxwell Martin) who’s strangely reluctant to welcome the new part-AI him back home, probably because she and his partner DI Roy Carver (Stephen Graham) are in a relationship. In fact on the night he was shot, they’ Read more ...
Adam Sweeting
You might consider equipping yourself with a shotgun and kevlar body armour before you start watching Gangs of London (Sky Atlantic), because this is a bruising, hair-raising ride. Created by Gareth Evans and Matt Flannery, it began with the televisual equivalent of being thrown from a fast-moving vehicle, as we saw a terrified man dangling on a rope over the edge of a high-rise building. His captor then doused him in petrol and set fire to him, his blazing body eventually plummeting to the pavement far below.Deliberately or not, the effect of this double-length opener was like being engulfed Read more ...
Veronica Lee
A camel is a horse designed by committee, they say; perhaps that explains why The Host, with several writing credits – adapted by Zachary Weckstein from a story by Laurence Lamers, screenplay by Finola Geraghty, Brendan Bishop and Lamers – doesn't really know what it is. Part suspense thriller, part crime caper, but mostly a Hitchcock rip-off (although I'm sure the creators would call it “homage”).It starts so promisingly, with Saul Bass-esque opening titles, but then we get into tale that becomes bogged down with trivial details. After being dumped by the married colleague with whom he has Read more ...
Matt Wolf
Twelfth Night is rarely long-absent from the British stage and nor is it in our current climate of streaming aplenty. This 2017 production for the RSC from the director Christopher Luscombe will soon be followed online by the National Theatre’s gender-flipped version, with Tamsin Greig as Malvolia, which actually preceded this Stratford production at the time.What kind of Twelfth Night is this? Conceptually busy and ingenious, to be sure, and arguably too much so: one feels on occasion that the inventive Luscombe has thrown every possible idea into the mix while stinting at times on the Read more ...
Matt Wolf
18 months or so after it opened in Chichester, Flowers for Mrs Harris launches a sequence of streamed productions from the West Sussex venue just in time to allow a new British musical to join the ever-swelling ranks of theatrical offerings online. This stage adaptation of the 1958 novel by Paul Gallico, directed by Daniel Evans, who brought the title along from his previous tenure running the Crucible, Sheffield, may be a show that really benefits from what advantages there are to experiencing theatre in this way.For starters, one can really zoom in on (you’ll forgive the choice of verb) Read more ...
David Nice
Praise be to quarantine days for the chance to savour this, the crowning glory of the Wolf Hall trilogy - if not with the supernatural vigilance and attentiveness of Thomas Cromwell himself, then at least with something of the leisurely diligence it deserves. Before the reading came the very public coronation of The Mirror & the Light, Mantel ubiquitous throughout, but always her unique, authentic and incorruptible self. Never, surely, has a greater novel deserved such a fanfaring blaze of publicity.How, then, to incorporate an element of thriller to an end we already know? It's all in Read more ...
joe.muggs
The Colors studio in Berlin has quietly created one of the biggest new brands in music from filming back-to-basics performances with laser-focused branding. From international megastars (Billie Eilish, Mac DeMarco) to up-and-comers, singers and occasionally rappers are filmed alone in a simple cube-shaped stage with distinctive colour-cycling lighting. In one sense, it's an incredibly slick marketing operation: for all the international diversity of the performer, they're photogenic one and all, and the consistency of the visuals gives an eerie, slightly cult-like air to things.But at the Read more ...
Tom Birchenough
Zed Nelson brings enormous humanity to this portrait of the changing identity of Hackney’s Hoxton Street as gentrification impinges on its long-established community. Shops that have been there for decades vanish overnight, fancy new pavement cafes spring up, and Nelson listens, patiently, to all who will talk to him, with a striking sense of their being able to speak in their own time, unprompted, unhurried. A Hackney resident most of his life, he worked on The Street over four years and the trust he obviously earned speaks to the best traditions of social documentary.A couple of miles from Read more ...
Liz Thomson
“Friday night is Amami night” – that was the ad that ran from the 1920s through to the 1950s for a brand of “setting lotion”, a delightfully old-fashioned term. Those were the days when young women stayed home and did their hair, in preparation for a Saturday night out. Perhaps some of the girls (they weren’t yet “chicks”, maybe “birds”) in the late 1950s used the product when they went to Eel Pie Island, one of the country’s legendary music scenes.The nine-acre island in the Thames, just above the river’s only lock, was the subject of BBC Four’s documentary Rock ‘n’ Roll Island: Where Read more ...